4 On Poetica, multi-reedist Anat Cohen convenes a group of fine young New York jazz players that includes, among others, pianist Jason Lindner and bassist Omer Avital. Cohen herself concentrates solely on clarinet. The album’s jazz content is, however, overshadowed by the inclusion of a classical string quartet, playing Avital’s finely crafted arrangements. Included in the repertoire is a version of John Coltrane’s “Lonnie’s Lament,” a pair of Cohen originals, and what the press material describes as “three old Israeli songs and a contemporary Israeli song.” The almost wholly classical “Eyn Gedi” stands out. The work features the string quartet’s note-perfect, deeply expressive performance of Avital’s late-romantic/impressionist arrangement. Cohen improvises prettily over the strings, but in the ensemble sections her playing seems callow in the context of the quartet’s disciplined professionalism. In a classical situation, slight technical problems (notably in terms of pitch, tone and phrasing) become outsized. Even a fine jazz clarinetist—and Cohen is that—can be tripped up. Cohen comes off better on the more jazz-oriented pieces, where precision is subservient to invention. Unfortunately, the jazz component here is not nearly as interesting as the classical. Cohen plays well enough here, yet in an important sense, she’s a guest at her own party. I admire Cohen’s clarinet playing, could take-or-leave her sax playing, but adore the way she puts a project together. As on Poetica, everything about Noir is first-rate: the recording quality, the choice of musicians (saxophonists Ted Nash, Billy Drewes and Scott Robinson among them), and most importantly, her chief collaborator: arranger/conductor—and, I should add, co-producer—Oded Lev-Ari. The unusual configuration of the band (three saxes, three trumpets/flugelhorns, two trombones, three cellos and rhythm section) allows Lev-Ari great tonal flexibility. The inclusion of a string section has sabotaged more than one jazz project. Lev-Ari incorporates them seamlessly, without a hint of idiomatic clash. The tunes and arrangements cover a lot of ground: samba, bossa nova, a torch song, a Dixieland tune and a cover of an obscure R&B tune, to name a few. Cohen’s soloing is accomplished, if not especially distinguished. The smaller the horn, the more refined her touch. Her alto is better than her tenor, her clarinet better than either. She’s a nice, skilled player, more emotive than passionate, and sometimes romantic to a fault. Lev-Ari’s arrangements and the band’s interpretations, however, are virtually beyond criticism. true 214 2008-07-30T17:16:00-04:00 false 19675 122 200706 true 69 2007-06-01T00:00:00-04:00

On Poetica, multi-reedist Anat Cohen convenes a group of fine young New York jazz players that includes, among others, pianist Jason Lindner and bassist Omer Avital. Cohen herself concentrates solely on clarinet. The album’s jazz content is, however, overshadowed by the inclusion of a classical string quartet, playing Avital’s finely crafted arrangements. Included in the repertoire is a version of John Coltrane’s “Lonnie’s Lament,” a pair of Cohen originals, and what the press material describes as “three old Israeli songs and a contemporary Israeli song.” The almost wholly classical “Eyn Gedi” stands out. The work features the string quartet’s note-perfect, deeply expressive performance of Avital’s late-romantic/impressionist arrangement. Cohen improvises prettily over the strings, but in the ensemble sections her playing seems callow in the context of the quartet’s disciplined professionalism. In a classical situation, slight technical problems (notably in terms of pitch, tone and phrasing) become outsized. Even a fine jazz clarinetist—and Cohen is that—can be tripped up. Cohen comes off better on the more jazz-oriented pieces, where precision is subservient to invention. Unfortunately, the jazz component here is not nearly as interesting as the classical. Cohen plays well enough here, yet in an important sense, she’s a guest at her own party. I admire Cohen’s clarinet playing, could take-or-leave her sax playing, but adore the way she puts a project together. As on Poetica, everything about Noir is first-rate: the recording quality, the choice of musicians (saxophonists Ted Nash, Billy Drewes and Scott Robinson among them), and most importantly, her chief collaborator: arranger/conductor—and, I should...

2009-03-02T00:27:13-05:00

4 Wayne Escoffery is a thirtysomething Coltrane- and Brecker-derived tenor player possessed of heavy-duty chops and musicality, with a fondness for modern jazz as it existed around the time of his birth. Joined here by vibist Joe Locke, bassist Hans Glawischnig and drummer Lewis Nash in a performance recorded live at New York’s Smoke nightclub, Escoffery and Co. turn out a set of bop and postbop tunes with skill and feeling. Locke is an agile accompanist and strong soloist, Glawischnig keeps great time and swings hard, and Nash is, as usual, infinitely sensitive and resourceful. Like many tenorists Escoffery’s age, he owes a heavy debt to the late Michael Brecker—an influence most keenly felt on uptempo tunes like Booker Little’s “Looking Ahead,” on which he’s apt to rely on trademark Brecker-isms as a means of keeping his line flowing. Therein rests Escoffery’s most pronounced flaw. Often his solos seem to rest on a random succession of licks, immaculately executed but not always having much to do with one another. He’s better when he slows down, as on the Strayhorn/Ellington classic “Isfahan,” wherein the quality of pastiche that intermittently characterizes his up-tempo work is replaced by a more personal and coherent melodicism. true 214 2008-07-30T17:22:54-04:00 false 19676 122 200706 true 69 2007-06-01T00:00:00-04:00

Wayne Escoffery is a thirtysomething Coltrane- and Brecker-derived tenor player possessed of heavy-duty chops and musicality, with a fondness for modern jazz as it existed around the time of his birth. Joined here by vibist Joe Locke, bassist Hans Glawischnig and drummer Lewis Nash in a performance recorded live at New York’s Smoke nightclub, Escoffery and Co. turn out a set of bop and postbop tunes with skill and feeling. Locke is an agile accompanist and strong soloist, Glawischnig keeps great time and swings hard, and Nash is, as usual, infinitely sensitive and resourceful. Like many tenorists Escoffery’s age, he owes a heavy debt to the late Michael Brecker—an influence most keenly felt on uptempo tunes like Booker Little’s “Looking Ahead,” on which he’s apt to rely on trademark Brecker-isms as a means of keeping his line flowing. Therein rests Escoffery’s most pronounced flaw. Often his solos seem to rest on a random succession of licks, immaculately executed but not always having much to do with one another. He’s better when he slows down, as on the Strayhorn/Ellington classic “Isfahan,” wherein the quality of pastiche that intermittently characterizes his up-tempo work is replaced by a more personal and coherent melodicism.

2009-03-02T00:27:13-05:00

4 A Sonny Rollins tribute if there ever was one, Keep On Rollin’ has a pairing of young (Jasper Blom) and younger (Denis Gäbel) tenor saxophonists playing tunes from two of the master’s most famous late-’50s albums: Freedom Suite and Way Out West. You’d be hard-pressed to find musicians more heavily in thrall of early Rollins. Leader Gäbel and his guest, Blom, both share Rollins’ dark, burly tone circa 1958—also his free-associative way of turning a phrase. Neither player displays an overly distinctive approach, but nor are they exactly musical plagiarists. They use the general parameters of Sonny’s style as a guide without—as far as I can tell—copying him literally. Most importantly, they capture the spur-of-the-moment air that’s so important to the act of improvisation, and which I too seldom encounter in the work of young jazz musicians. The bass/drums rhythm section approximates those on the Rollins’ albums, meaning that they don’t do a whole lot more than keep time and support the soloists, ably but anonymously. While I can’t bring myself to rave about what is essentially a remake of a pair of classic albums, I will confess, Keep on Rollin’ has its charms. true 214 2008-07-30T17:26:14-04:00 false 19677 122 200706 true 69 2007-06-01T00:00:00-04:00

A Sonny Rollins tribute if there ever was one, Keep On Rollin’ has a pairing of young (Jasper Blom) and younger (Denis Gäbel) tenor saxophonists playing tunes from two of the master’s most famous late-’50s albums: Freedom Suite and Way Out West. You’d be hard-pressed to find musicians more heavily in thrall of early Rollins. Leader Gäbel and his guest, Blom, both share Rollins’ dark, burly tone circa 1958—also his free-associative way of turning a phrase. Neither player displays an overly distinctive approach, but nor are they exactly musical plagiarists. They use the general parameters of Sonny’s style as a guide without—as far as I can tell—copying him literally. Most importantly, they capture the spur-of-the-moment air that’s so important to the act of improvisation, and which I too seldom encounter in the work of young jazz musicians. The bass/drums rhythm section approximates those on the Rollins’ albums, meaning that they don’t do a whole lot more than keep time and support the soloists, ably but anonymously. While I can’t bring myself to rave about what is essentially a remake of a pair of classic albums, I will confess, Keep on Rollin’ has its charms.

2009-03-02T00:27:13-05:00

4 With names like Clark Terry, Sarah Vaughan, Illinois Jacquet and Dizzy Gillespie gilding his résumé, you’d expect alto saxophonist Dave Glasser to be a solid mainstreamer before hearing him play a note. No surprise. He is—a limpid-toned, lyrical player in the tradition of the great cool-school altoists. According to Nat Hentoff’s liner notes, Lee Konitz was Glasser’s first mentor, yet I also hear traces of Paul Desmond and, on uptempo tunes and the aptly titled “A Little Funky” (very little), Art Pepper. Clarity and subtlety are critical components of Glasser’s playing. He follows each distinctly rendered idea to its logical conclusion, and pays great attention to tonal nuance. His sense of swing is impeccable. The rhythm section provides appropriately unobtrusive support: Carl Allen supplies the ching-ching-a-ching, Dennis Irwin and Larry Ham the Aebersold-worthy bass and piano, respectively (Ham is also a deft soloist). Lightness is the order of the day, which can be a nice thing when it’s done well, as this mostly is (a hokey version of “I’ve Been Working on the Railroad” being a notable exception). Glasser’s aims are modest. He accomplishes them with some grace. true 214 2008-07-30T19:37:36-04:00 false 19679 122 200706 true 69 2007-06-01T00:00:00-04:00

With names like Clark Terry, Sarah Vaughan, Illinois Jacquet and Dizzy Gillespie gilding his résumé, you’d expect alto saxophonist Dave Glasser to be a solid mainstreamer before hearing him play a note. No surprise. He is—a limpid-toned, lyrical player in the tradition of the great cool-school altoists. According to Nat Hentoff’s liner notes, Lee Konitz was Glasser’s first mentor, yet I also hear traces of Paul Desmond and, on uptempo tunes and the aptly titled “A Little Funky” (very little), Art Pepper. Clarity and subtlety are critical components of Glasser’s playing. He follows each distinctly rendered idea to its logical conclusion, and pays great attention to tonal nuance. His sense of swing is impeccable. The rhythm section provides appropriately unobtrusive support: Carl Allen supplies the ching-ching-a-ching, Dennis Irwin and Larry Ham the Aebersold-worthy bass and piano, respectively (Ham is also a deft soloist). Lightness is the order of the day, which can be a nice thing when it’s done well, as this mostly is (a hokey version of “I’ve Been Working on the Railroad” being a notable exception). Glasser’s aims are modest. He accomplishes them with some grace.

2009-03-02T00:27:13-05:00

4 This album is a remastered reissue of an historic 1968 recording by multi-instrumentalist Jarman’s then-current band with bassist Charles Clark, drummer Thurman Barker and guest vocalist Sherri Scott. The quartet is joined on the album’s second half by colleagues from Chicago’s AACM: pianist Muhal Richard Abrams, tenor saxophonists Fred Anderson and John Stubblefield, and trombonist Lester Lashley among them. On the fully improvised title track, Jarman’s core group explores small sounds and the use of space existing outside anything remotely resembling regular pulse or swing. The second track, “Song for Christopher,” is based on an unfinished composition for the larger ensemble by Jarman’s former pianist, Christopher Gaddy, who by the time of this recording had left Jarman’s band and would soon pass away. Comparing the two performances illustrates something that even today remains more of a rule than an exception: The quality of an improvised piece of music tends to decrease as the size of the ensemble increases. The second track has some nice moments, certainly, but too often it’s a muddle. For my money, the small group’s disciplined, deep-listening approach makes for greater clarity, a wider array of sounds (paradoxically, perhaps), and more successful music overall. true 214 2008-07-30T19:39:14-04:00 false 19681 122 200706 true 69 2007-06-01T00:00:00-04:00

This album is a remastered reissue of an historic 1968 recording by multi-instrumentalist Jarman’s then-current band with bassist Charles Clark, drummer Thurman Barker and guest vocalist Sherri Scott. The quartet is joined on the album’s second half by colleagues from Chicago’s AACM: pianist Muhal Richard Abrams, tenor saxophonists Fred Anderson and John Stubblefield, and trombonist Lester Lashley among them. On the fully improvised title track, Jarman’s core group explores small sounds and the use of space existing outside anything remotely resembling regular pulse or swing. The second track, “Song for Christopher,” is based on an unfinished composition for the larger ensemble by Jarman’s former pianist, Christopher Gaddy, who by the time of this recording had left Jarman’s band and would soon pass away. Comparing the two performances illustrates something that even today remains more of a rule than an exception: The quality of an improvised piece of music tends to decrease as the size of the ensemble increases. The second track has some nice moments, certainly, but too often it’s a muddle. For my money, the small group’s disciplined, deep-listening approach makes for greater clarity, a wider array of sounds (paradoxically, perhaps), and more successful music overall.

2009-03-02T00:27:13-05:00

4 Tenor saxophonist Greg Tardy’s styles of composing and improvising are often harmonically cryptic in the manner of Wayne Shorter, yet not distractingly derivative—Shorter’s templates allow for a great deal of latitude, and Tardy takes advantage. His tenor sound is dense, his phrasing frequently blunt, and his choice of notes often attractively unencumbered by harmonic convention. He’s joined on Steps of Faith by a group consisting of trumpeter Marcus Printup, alto saxophonist Logan Richardson, pianist Luis Perdomo, bassist Sean Conly and drummer Jaimeo Brown (Tardy’s mother, Joanne Tardy, sings on one track). Aside from the leader, Printup is the most interesting soloist. The trumpeter plays with a lithe assuredness, tight focus and an agreeably pliable tone. Perdomo and the stridently lyrical Richardson have nice moments as well, but ultimately it’s Tardy’s show. Not only is he arguably the most original of the band’s improvisers, he’s also the most impassioned. His lines are incisive and hard-edged. Even his most fanciful flights are purposeful. His energetic approach consistently lifts the group’s performance to a higher level. Were his sidemen able to match him in terms of intensity, this would’ve been a killer. As it is, it’s simply quite good. true 214 2008-07-30T19:44:48-04:00 false 19684 122 200706 true 69 2007-06-01T00:00:00-04:00

Tenor saxophonist Greg Tardy’s styles of composing and improvising are often harmonically cryptic in the manner of Wayne Shorter, yet not distractingly derivative—Shorter’s templates allow for a great deal of latitude, and Tardy takes advantage. His tenor sound is dense, his phrasing frequently blunt, and his choice of notes often attractively unencumbered by harmonic convention. He’s joined on Steps of Faith by a group consisting of trumpeter Marcus Printup, alto saxophonist Logan Richardson, pianist Luis Perdomo, bassist Sean Conly and drummer Jaimeo Brown (Tardy’s mother, Joanne Tardy, sings on one track). Aside from the leader, Printup is the most interesting soloist. The trumpeter plays with a lithe assuredness, tight focus and an agreeably pliable tone. Perdomo and the stridently lyrical Richardson have nice moments as well, but ultimately it’s Tardy’s show. Not only is he arguably the most original of the band’s improvisers, he’s also the most impassioned. His lines are incisive and hard-edged. Even his most fanciful flights are purposeful. His energetic approach consistently lifts the group’s performance to a higher level. Were his sidemen able to match him in terms of intensity, this would’ve been a killer. As it is, it’s simply quite good.

2009-03-02T00:27:13-05:00

4 Longtime Woody Herman Orchestra tenor and soprano saxophonist Frank Tiberi is joined by a rhythm section and three other saxophonists who, at one time or another, were also associated with the Herman band: tenorists Larry McKenna and John Nugent and baritone saxophonist Mike Brignola. The group plays down arrangements of bop-era tunes like the title track and Dizzy Gillespie’s “Woody ’N You” with loose precision, high spirits and good humor. Tiberi’s Coltrane-inspired, inside-out approach no longer seems as radical as it did in Herman’s ’70s and ’80s groups, yet he maintains a spontaneous edge and is the most interesting soloist. The fiery Nugent—also Coltrane-inspired—runs a close second. The rhythm section of pianist David Berkman, bassist Lynn Seaton and drummer Matt Wilson does its job well enough (although Seaton’s corny Slam Stewart-esque scat bass solo on “Four of a Kind” is cringe-inducing). Less a revision than a revisiting of the “Four Brothers” concept, this is a fun, unprepossessing set. true 214 2008-07-30T19:48:08-04:00 false 19687 122 200706 true 69 2007-06-01T00:00:00-04:00

Longtime Woody Herman Orchestra tenor and soprano saxophonist Frank Tiberi is joined by a rhythm section and three other saxophonists who, at one time or another, were also associated with the Herman band: tenorists Larry McKenna and John Nugent and baritone saxophonist Mike Brignola. The group plays down arrangements of bop-era tunes like the title track and Dizzy Gillespie’s “Woody ’N You” with loose precision, high spirits and good humor. Tiberi’s Coltrane-inspired, inside-out approach no longer seems as radical as it did in Herman’s ’70s and ’80s groups, yet he maintains a spontaneous edge and is the most interesting soloist. The fiery Nugent—also Coltrane-inspired—runs a close second. The rhythm section of pianist David Berkman, bassist Lynn Seaton and drummer Matt Wilson does its job well enough (although Seaton’s corny Slam Stewart-esque scat bass solo on “Four of a Kind” is cringe-inducing). Less a revision than a revisiting of the “Four Brothers” concept, this is a fun, unprepossessing set.

2009-03-02T00:27:13-05:00

4 As the lead tenor saxophonist with the U.S. Air Force’s Airmen of Note, Tedd Baker could be expected to be exceptional, and he is. His big muscular tone and perpetually moving lines produce hard-bop improvisations that grab the listener’s interest and generate intense emotion on burning tunes like “Fruit Through Tears.” On affecting ballads such as “Her Hands,” however, Baker proves capable of a pensive tenderness. The leader wrote all the music, including the Bob Mintzer-like jazz-rock “Release Date,” where his tenor solo suggests Mintzer, some blues and other well-crafted instrumental miniatures. The players—pianist Harry Appelman, drummer Clyde Adams II, trumpeter Deandre Shaifer, altoist Lyle Link and bassist Kris Funn—are from the Washington, D.C. area, and most are seasoned veterans. (Funn has been playing with Kenny Garrett, for example.) They do a fine job of executing Baker’s sophisticated charts, both as an ensemble and as individual soloists. true 11 2007-06-07T14:05:44-04:00 17251 105 200609 true 0 69 2006-09-01T00:00:00-04:00

As the lead tenor saxophonist with the U.S. Air Force’s Airmen of Note, Tedd Baker could be expected to be exceptional, and he is. His big muscular tone and perpetually moving lines produce hard-bop improvisations that grab the listener’s interest and generate intense emotion on burning tunes like “Fruit Through Tears.” On affecting ballads such as “Her Hands,” however, Baker proves capable of a pensive tenderness. The leader wrote all the music, including the Bob Mintzer-like jazz-rock “Release Date,” where his tenor solo suggests Mintzer, some blues and other well-crafted instrumental miniatures. The players—pianist Harry Appelman, drummer Clyde Adams II, trumpeter Deandre Shaifer, altoist Lyle Link and bassist Kris Funn—are from the Washington, D.C. area, and most are seasoned veterans. (Funn has been playing with Kenny Garrett, for example.) They do a fine job of executing Baker’s sophisticated charts, both as an ensemble and as individual soloists.

2009-03-02T00:25:45-05:00

4 Folks who know of Jerry Bergonzi only as the successor to Paul Desmond in the Dave Brubeck Quartet could be misled by that credential. In contrast to the light and lyrical altoist, Bergonzi is a fiery tenor player out of the John Coltrane school. And like such contemporaries as Michael Brecker, he has internalized the Coltrane legacy and developed an identifiable sound of his own. His even, expressive tone exhibits a smoother, less stringent core than that of his peers and, with as much technique as anyone playing today, he spins long, sequential phases that exploit the instrument’s range. But although Bergonzi can articulate complex phrases, his lines always make sense and they’re rhythmically on the mark. Except for the uptempo standard “You’re My Everything,” all the tunes on Tenor of the Times are Bergonzi originals. They range from a dark, somber “The Tomb” to a very bright and sparkling “Skull Shining.” Bassist Dave Santoro and drummer Andrea Michelutti have played with Bergonzi for many years. Veteran pianist Renato Chicco complements them well, and the quartet constitutes a finely integrated unit. true 11 2007-06-07T14:05:44-04:00 17252 105 200609 true 0 69 2006-09-01T00:00:00-04:00

Folks who know of Jerry Bergonzi only as the successor to Paul Desmond in the Dave Brubeck Quartet could be misled by that credential. In contrast to the light and lyrical altoist, Bergonzi is a fiery tenor player out of the John Coltrane school. And like such contemporaries as Michael Brecker, he has internalized the Coltrane legacy and developed an identifiable sound of his own. His even, expressive tone exhibits a smoother, less stringent core than that of his peers and, with as much technique as anyone playing today, he spins long, sequential phases that exploit the instrument’s range. But although Bergonzi can articulate complex phrases, his lines always make sense and they’re rhythmically on the mark. Except for the uptempo standard “You’re My Everything,” all the tunes on Tenor of the Times are Bergonzi originals. They range from a dark, somber “The Tomb” to a very bright and sparkling “Skull Shining.” Bassist Dave Santoro and drummer Andrea Michelutti have played with Bergonzi for many years. Veteran pianist Renato Chicco complements them well, and the quartet constitutes a finely integrated unit.

2009-03-02T00:25:45-05:00

4 Tenorist/sopranoist Paul Carr has been a fixture on the Washington, D.C., area jazz scene for many years. The self-produced Just Noodlin’ is his second album as a leader and his first since 1993. Carr’s frontline companions for the occasion are the fine trumpeter Terell Stafford and a basic rhythm section consisting of pianist Andrew Adair, bassist Gavin Fallow and drummer Steve Williams. Pianists Bob Butta or Vince Evans, bassist Michael Bowie and drummer Harold Summey substitute on three tracks and percussionist Sam Turner appears on one. The band’s music is updated hard bop, and all the players know the language well. Hank Mobley’s “Pat ’n’ Chat” and Coltrane’s arrangement of “But Not for Me” are typical, though the program also includes a Latin “Alfie," a gospel-like “If I Can Help Somebody” and the ballad “You’ve Changed” (by Carey and Fischer, not “Carrie Fischer” as listed). Stafford is especially effective with inventive, in-the-pocket improvisations. Carr has the husky tone identified with the Houston of his youth and ample technique to express his brimming ideas. On faster tunes like “But Not for Me,” however, he and the rhythm section sometimes sound a bit out of sync. true 11 2007-06-07T14:05:44-04:00 17253 105 200609 true 0 69 2006-09-01T00:00:00-04:00

Tenorist/sopranoist Paul Carr has been a fixture on the Washington, D.C., area jazz scene for many years. The self-produced Just Noodlin’ is his second album as a leader and his first since 1993. Carr’s frontline companions for the occasion are the fine trumpeter Terell Stafford and a basic rhythm section consisting of pianist Andrew Adair, bassist Gavin Fallow and drummer Steve Williams. Pianists Bob Butta or Vince Evans, bassist Michael Bowie and drummer Harold Summey substitute on three tracks and percussionist Sam Turner appears on one. The band’s music is updated hard bop, and all the players know the language well. Hank Mobley’s “Pat ’n’ Chat” and Coltrane’s arrangement of “But Not for Me” are typical, though the program also includes a Latin “Alfie," a gospel-like “If I Can Help Somebody” and the ballad “You’ve Changed” (by Carey and Fischer, not “Carrie Fischer” as listed). Stafford is especially effective with inventive, in-the-pocket improvisations. Carr has the husky tone identified with the Houston of his youth and ample technique to express his brimming ideas. On faster tunes like “But Not for Me,” however, he and the rhythm section sometimes sound a bit out of sync.

2009-03-02T00:25:45-05:00

4 In spite of coming of age a generation apart, altoists Art Pepper and Richie Cole share the common heritage of bebop. Ironically, Cole, the younger man, reflects the influence of bop icon Charlie Parker more directly than his older associate, who adopted a more individualistic approach to Parker’s innovations. In early 1982, Cole was leading his own groups and Pepper was enjoying a personal renaissance. A Piece of Jazz History is a remastered version of a one-off recording they made with pianist Roger Kellaway, bassist Bob Magnusson and drummer Billy Higgins four months before Pepper’s death in June. Cole appears on alto, tenor and baritone, and his best playing may be his exhilarating Birdlike bari excursion on the “Rhythm” changes-based original “Return to Alto Acres.” Pepper doubles on clarinet, and as with Cole, some of his finest work is done on the secondary instrument and on that same tune. Cole’s improvisations flow easily and swing brightly. Pepper’s style was quite fluent in the 1950s but upon his mid-’60s return featured an intense, darting phraseology that could sometimes, as on occasion here, sound overly fragmented. Pepper may not be at his very best, but he’s still better than most, and Cole is in excellent form. true 11 2007-06-07T14:05:44-04:00 17254 105 200609 true 0 69 2006-09-01T00:00:00-04:00

In spite of coming of age a generation apart, altoists Art Pepper and Richie Cole share the common heritage of bebop. Ironically, Cole, the younger man, reflects the influence of bop icon Charlie Parker more directly than his older associate, who adopted a more individualistic approach to Parker’s innovations. In early 1982, Cole was leading his own groups and Pepper was enjoying a personal renaissance. A Piece of Jazz History is a remastered version of a one-off recording they made with pianist Roger Kellaway, bassist Bob Magnusson and drummer Billy Higgins four months before Pepper’s death in June. Cole appears on alto, tenor and baritone, and his best playing may be his exhilarating Birdlike bari excursion on the “Rhythm” changes-based original “Return to Alto Acres.” Pepper doubles on clarinet, and as with Cole, some of his finest work is done on the secondary instrument and on that same tune. Cole’s improvisations flow easily and swing brightly. Pepper’s style was quite fluent in the 1950s but upon his mid-’60s return featured an intense, darting phraseology that could sometimes, as on occasion here, sound overly fragmented. Pepper may not be at his very best, but he’s still better than most, and Cole is in excellent form.

2009-03-02T00:25:45-05:00

4 For his 11th album as a leader, Denver-based tenorist Fred Hess employed the same excellent sidemen as on his previous two well-received recordings—Ken Filiano on bass, Matt Wilson on drums and Ron Miles on cornet (instead of his usual trumpet), with longtime colleague Mark Harris added on alto. And once again the leader, who holds a doctorate in composition, wrote all the pieces (certainly not “tunes”). Indeed, the emphasis is on Hess’ sophisticated writing, complemented by well-integrated improvisations. Straightahead swing, as in “Sooz Blooz,” shares space with creative forms and rhythmic schemes as in the programmatic “The Clef’s Ski Vacation,” which faithfully renders a soundtrack for a fanciful storyline. Other selections include “Finding the Evidence,” where the listener is challenged to find Monk’s disguised theme, “B Quick,” whose opening tenor-and-drums unison leads to a long and fascinating Wilson solo, and “How ’Bout Now,” where the players all simultaneously engage in improvised interplay. As improvisers, Hess and Miles refuse to rely on the obvious. Their searching inventiveness affords them distinctive voices within the postbop tradition. true 11 2007-06-07T14:05:44-04:00 17255 105 200609 true 0 69 2006-09-01T00:00:00-04:00

For his 11th album as a leader, Denver-based tenorist Fred Hess employed the same excellent sidemen as on his previous two well-received recordings—Ken Filiano on bass, Matt Wilson on drums and Ron Miles on cornet (instead of his usual trumpet), with longtime colleague Mark Harris added on alto. And once again the leader, who holds a doctorate in composition, wrote all the pieces (certainly not “tunes”). Indeed, the emphasis is on Hess’ sophisticated writing, complemented by well-integrated improvisations. Straightahead swing, as in “Sooz Blooz,” shares space with creative forms and rhythmic schemes as in the programmatic “The Clef’s Ski Vacation,” which faithfully renders a soundtrack for a fanciful storyline. Other selections include “Finding the Evidence,” where the listener is challenged to find Monk’s disguised theme, “B Quick,” whose opening tenor-and-drums unison leads to a long and fascinating Wilson solo, and “How ’Bout Now,” where the players all simultaneously engage in improvised interplay. As improvisers, Hess and Miles refuse to rely on the obvious. Their searching inventiveness affords them distinctive voices within the postbop tradition.

2009-03-02T00:25:45-05:00

4 If anyone still needs convincing that outstanding jazz players live and work in places other than on the East and West Coasts, they should check out Denver-based Keith Oxman’s latest recording. The tenorist’s sixth album for Colorado’s Capri label features superb players, mostly from Denver and elsewhere in the state, who can hold their own with anyone anywhere. The leader himself is an excellent improviser, with a fine sound, agile technique and sure harmonic sense. He also exhibits a thorough knowledge of the hard bop language and can swing like crazy. Plus he’s an imaginative composer and arranger, having written six of the album’s 12 tunes and arranged another. Pianist Chip Stephens, bassist Ken Walker and drummer Todd Reid lay down solid time and interact with the horn soloists in a sensitive, supportive manner. Those soloists include veteran trombonist Curtis Fuller and trumpeter Al Hood as well as, on one tune, trumpeter Marcus Hampton. Pianist Stephens himself proves to be one of the most exciting soloists of the session. He’s also responsible for one of the CD’s many innovative arrangements, a poignant version of “Darn That Dream” that features the principal oboist with the Colorado Symphony, Peter Cooper. true 11 2007-06-07T14:05:44-04:00 17256 105 200609 true 0 69 2006-09-01T00:00:00-04:00

If anyone still needs convincing that outstanding jazz players live and work in places other than on the East and West Coasts, they should check out Denver-based Keith Oxman’s latest recording. The tenorist’s sixth album for Colorado’s Capri label features superb players, mostly from Denver and elsewhere in the state, who can hold their own with anyone anywhere. The leader himself is an excellent improviser, with a fine sound, agile technique and sure harmonic sense. He also exhibits a thorough knowledge of the hard bop language and can swing like crazy. Plus he’s an imaginative composer and arranger, having written six of the album’s 12 tunes and arranged another. Pianist Chip Stephens, bassist Ken Walker and drummer Todd Reid lay down solid time and interact with the horn soloists in a sensitive, supportive manner. Those soloists include veteran trombonist Curtis Fuller and trumpeter Al Hood as well as, on one tune, trumpeter Marcus Hampton. Pianist Stephens himself proves to be one of the most exciting soloists of the session. He’s also responsible for one of the CD’s many innovative arrangements, a poignant version of “Darn That Dream” that features the principal oboist with the Colorado Symphony, Peter Cooper.

2009-03-02T00:25:45-05:00

4 Subtitled The Best of Collection, Reflections consists mostly of tracks from altoist/sopranoist Eric Person’s recordings released between 1993 and 2003 (unfortunately, the notes do not indicate which album a given track comes from). The CD does, however, offer new music in three previously unreleased live performances from 1998 featuring trumpeter Dave Douglas with Person’s quartet. Since several recordings are represented, personnel varies from track to track, although pianist John Esposito and bassist Kenny Davis appear on most. The style is postbop leaning heavily toward modal. Except for two originals by other participants, the tunes are all Person’s and are typically instrumental pieces rather than songlike compositions. Elements such as mixed meter, stop-and-go rhythms and rubato and shifting tempos are characteristic, and there is even the occasional ethereal synthesizer background. Moods range from the high intensity of the scorching “Perfection” to the dreamlike “Next Love,” performed as a duet by Person and electric guitarist Cary Denigris. Person executes his music with a virtuosic technique, a spot-on rhythmic sense and a masterful command of the stylistic vocabulary. Colleagues that include such top-flight players as bassist Dave Holland provide him with a more than congenial setting. true 11 2007-06-07T14:05:44-04:00 17257 105 200609 true 0 69 2006-09-01T00:00:00-04:00

Subtitled The Best of Collection, Reflections consists mostly of tracks from altoist/sopranoist Eric Person’s recordings released between 1993 and 2003 (unfortunately, the notes do not indicate which album a given track comes from). The CD does, however, offer new music in three previously unreleased live performances from 1998 featuring trumpeter Dave Douglas with Person’s quartet. Since several recordings are represented, personnel varies from track to track, although pianist John Esposito and bassist Kenny Davis appear on most. The style is postbop leaning heavily toward modal. Except for two originals by other participants, the tunes are all Person’s and are typically instrumental pieces rather than songlike compositions. Elements such as mixed meter, stop-and-go rhythms and rubato and shifting tempos are characteristic, and there is even the occasional ethereal synthesizer background. Moods range from the high intensity of the scorching “Perfection” to the dreamlike “Next Love,” performed as a duet by Person and electric guitarist Cary Denigris. Person executes his music with a virtuosic technique, a spot-on rhythmic sense and a masterful command of the stylistic vocabulary. Colleagues that include such top-flight players as bassist Dave Holland provide him with a more than congenial setting.

2009-03-02T00:25:45-05:00

4 Tenorist David Sills, despite being in his mid-30s, could pass for a Lester Young disciple of the late 1940s or 1950s. Not that he sounds like any one Young follower in particular, as he possesses a personal tone and constructs his solos in a distinctive manner. His thoughtful improvisations catch the ear with unexpected phrasing that swings comfortably along. Sills shares the frontline with altoist Gary Foster, another saxophonist whose pure, smooth tone is derived from Young via Lee Konitz. Foster is a brilliant improviser who eschews trite and banal phrasing. They are joined by the excellent West Coast rhythm section of pianist Alan Broadbent, bassist Putter Smith and drummer Tim Pleasant, along with guitarist Larry Koonse, who pulls double duty as a superb upfront soloist. Their program consists of a few standards (by Sam Rivers, Milt Jackson and Antonio Carlos Jobim, among others) and band members’ originals, including five by Sills himself. They range from “Down the Line”—Sills’ dancing line over “Rhythm” changes—to the gorgeous Livingston and Evans ballad “Never Let Me Go,” with lots of stylistic variety in between. true 11 2007-06-07T14:05:44-04:00 17258 105 200609 true 0 69 2006-09-01T00:00:00-04:00

Tenorist David Sills, despite being in his mid-30s, could pass for a Lester Young disciple of the late 1940s or 1950s. Not that he sounds like any one Young follower in particular, as he possesses a personal tone and constructs his solos in a distinctive manner. His thoughtful improvisations catch the ear with unexpected phrasing that swings comfortably along. Sills shares the frontline with altoist Gary Foster, another saxophonist whose pure, smooth tone is derived from Young via Lee Konitz. Foster is a brilliant improviser who eschews trite and banal phrasing. They are joined by the excellent West Coast rhythm section of pianist Alan Broadbent, bassist Putter Smith and drummer Tim Pleasant, along with guitarist Larry Koonse, who pulls double duty as a superb upfront soloist. Their program consists of a few standards (by Sam Rivers, Milt Jackson and Antonio Carlos Jobim, among others) and band members’ originals, including five by Sills himself. They range from “Down the Line”—Sills’ dancing line over “Rhythm” changes—to the gorgeous Livingston and Evans ballad “Never Let Me Go,” with lots of stylistic variety in between.

2009-03-02T00:25:45-05:00

4 Walkin’ With the Wazmo is an eclectic and entertaining album by the versatile tenorist currently appearing in the house band for Late Night With Conan O’Brien. Jerry Vivino lists his passions as “Jazz and R&B” with acknowledged saxophone influences including rhythm ’n’ blues tenorist King Curtis, along with numerous jazz giants. His diverse, mostly original program, performed by several combinations, reflects his varied interests. The uptempo version of Sonny Rollins’ “Pent-Up House,” with valve trombonist Mike Fahn, is straightahead quintet hard bop, as is “Cat’s ’R’ Us,” which, with Lew Soloff’s trumpet and the leader’s tenor, sounds like something from the Clifford Brown-Max Roach library. By contrast, the samba “Bellissima” showcases Vivino’s lovely flute sound and his ability to adopt a ’50s-cool stance on tenor. And his vocal rendition of Louis Jordan’s jumping “Knock Me a Kiss” as well as his own swinglike vocal “I’m Mad About You” go even farther afield stylistically. The funky title tune and the equally earthy “The Fried Piper,” a couple of Latin numbers (including Herbie Hancock’s “Dolphin Dance”) and some blues round out the program. true 11 2007-06-07T14:05:44-04:00 17259 105 200609 true 0 69 2006-09-01T00:00:00-04:00

Walkin’ With the Wazmo is an eclectic and entertaining album by the versatile tenorist currently appearing in the house band for Late Night With Conan O’Brien. Jerry Vivino lists his passions as “Jazz and R&B” with acknowledged saxophone influences including rhythm ’n’ blues tenorist King Curtis, along with numerous jazz giants. His diverse, mostly original program, performed by several combinations, reflects his varied interests. The uptempo version of Sonny Rollins’ “Pent-Up House,” with valve trombonist Mike Fahn, is straightahead quintet hard bop, as is “Cat’s ’R’ Us,” which, with Lew Soloff’s trumpet and the leader’s tenor, sounds like something from the Clifford Brown-Max Roach library. By contrast, the samba “Bellissima” showcases Vivino’s lovely flute sound and his ability to adopt a ’50s-cool stance on tenor. And his vocal rendition of Louis Jordan’s jumping “Knock Me a Kiss” as well as his own swinglike vocal “I’m Mad About You” go even farther afield stylistically. The funky title tune and the equally earthy “The Fried Piper,” a couple of Latin numbers (including Herbie Hancock’s “Dolphin Dance”) and some blues round out the program.

2009-03-02T00:25:45-05:00