4 In a bit of a surprise, it wasn't John Abercrombie's long-standing organ trio mates, Dan Wall and Adam Nussbaum, who survived from his previous ECM album, but rather guest violinist Mark Feldman. The guitarist was impressed enough with Feldman's contributions to Open Land that he at first expanded his organ trio to accommodate the violinist, and subsequently built a new group around him. <I>Cat 'n' Mouse</I> (ECM 1770 CD 440 014 001-2; 59:52), which features a rangy, open sound, also includes the considerable talents of bassist Marc Johnson and drummer Joey Baron. Abercrombie takes advantage of his band's newfound keyboardless spaciousness. At times, as on "Convolution," the band plays freely; at other times, the band navigates themes and harmonic progressions that surface and sink at will. Feldman, whose playing ranges from intense wails to long, dolorous lines, hasn't really recorded much of significance as a leader. But on <I>Cat 'n' Mouse</I>, he certainly reinforces his own reputation as one of the most creative and expressive sidemen in jazz. true 197 2007-06-07T14:05:44-04:00 false 13089 58 200205 true 0 67 2002-05-01T00:00:00-04:00

In a bit of a surprise, it wasn't John Abercrombie's long-standing organ trio mates, Dan Wall and Adam Nussbaum, who survived from his previous ECM album, but rather guest violinist Mark Feldman. The guitarist was impressed enough with Feldman's contributions to Open Land that he at first expanded his organ trio to accommodate the violinist, and subsequently built a new group around him. Cat 'n' Mouse (ECM 1770 CD 440 014 001-2; 59:52), which features a rangy, open sound, also includes the considerable talents of bassist Marc Johnson and drummer Joey Baron. Abercrombie takes advantage of his band's newfound keyboardless spaciousness. At times, as on "Convolution," the band plays freely; at other times, the band navigates themes and harmonic progressions that surface and sink at will. Feldman, whose playing ranges from intense wails to long, dolorous lines, hasn't really recorded much of significance as a leader. But on Cat 'n' Mouse , he certainly reinforces his own reputation as one of the most creative and expressive sidemen in jazz.

2009-10-12T16:52:44-04:00

4 While it lacks creativity, the title spells it out: Jazz Flamenco Guitars (Purchase PCC D0401; 60:28) pairs two guitarists of divergent styles-Doug Munro, the electric jazzman, and Mariano Mangas, the nylon-string flamenco player-in a Latin-jazz setting. The guys hit all the really tired Latin-jazz nodes, including the theme from Black Orpheus, Kenny Dorham's "Blue Bossa" and Rodrigo's "Concierto de Aranjuez," which comes inexplicably conjoined with "Feelings." Another cornball medley, "16 Tons" wedded to the Pink Panther theme, reinforces a just-for-kicks vibe. Despite all the strikes against it, Jazz Flamenco Guitars is not without its charms. Munro's focused tone over minimal percussion and Mangas' flamenco-style chording give this recording a sound that occasionally ventures into Marc Ribot's Prosthetic Cubans territory. Like guitarist Ribot with the Cubans, Munro stays close to the melody and plays with guile and understatement. In the lead, Mangas can sound brittle and manic, but he does just fine in support. true 197 2007-06-07T14:05:44-04:00 13090 58 200205 true 0 67 2002-05-01T00:00:00-04:00

While it lacks creativity, the title spells it out: Jazz Flamenco Guitars (Purchase PCC D0401; 60:28) pairs two guitarists of divergent styles-Doug Munro, the electric jazzman, and Mariano Mangas, the nylon-string flamenco player-in a Latin-jazz setting. The guys hit all the really tired Latin-jazz nodes, including the theme from Black Orpheus, Kenny Dorham's "Blue Bossa" and Rodrigo's "Concierto de Aranjuez," which comes inexplicably conjoined with "Feelings." Another cornball medley, "16 Tons" wedded to the Pink Panther theme, reinforces a just-for-kicks vibe. Despite all the strikes against it, Jazz Flamenco Guitars is not without its charms. Munro's focused tone over minimal percussion and Mangas' flamenco-style chording give this recording a sound that occasionally ventures into Marc Ribot's Prosthetic Cubans territory. Like guitarist Ribot with the Cubans, Munro stays close to the melody and plays with guile and understatement. In the lead, Mangas can sound brittle and manic, but he does just fine in support.

2009-03-02T00:22:56-05:00

4 Bob Sneider plays with a glassy, clear tone, a touch of the blues and a countrified sunshine, all of which are reminiscent of Herb Ellis. Spending time as a sideman for Nat Adderley, Nick Brignola and Freddy Cole, among others, Sneider has only recently begun recording as a leader. On Out of the Darkness (Sons of Sound SSPCD010; 60:10), his sophomore effort, the guitarist plays well but lets his good sense fail him in broader contexts. On the two Cole Porter tracks featuring strings, for example, the arrangements are pretty lame, and the presence of strings, particularly on "Ev'ry Time We Say Good-bye," induces some of Sneider's most maudlin playing. A friendly stroll through Billy Strayhorn's "Isfahan" contains a fine performance by the leader, but misses the delicate beauty of the tune. The briskly paced hard bop of the title track suits Sneider much better, and also features quality trumpet work by the guitarist's brother, John. true 197 2007-06-07T14:05:44-04:00 13091 58 200205 true 0 67 2002-05-01T00:00:00-04:00

Bob Sneider plays with a glassy, clear tone, a touch of the blues and a countrified sunshine, all of which are reminiscent of Herb Ellis. Spending time as a sideman for Nat Adderley, Nick Brignola and Freddy Cole, among others, Sneider has only recently begun recording as a leader. On Out of the Darkness (Sons of Sound SSPCD010; 60:10), his sophomore effort, the guitarist plays well but lets his good sense fail him in broader contexts. On the two Cole Porter tracks featuring strings, for example, the arrangements are pretty lame, and the presence of strings, particularly on "Ev'ry Time We Say Good-bye," induces some of Sneider's most maudlin playing. A friendly stroll through Billy Strayhorn's "Isfahan" contains a fine performance by the leader, but misses the delicate beauty of the tune. The briskly paced hard bop of the title track suits Sneider much better, and also features quality trumpet work by the guitarist's brother, John.

2009-03-02T00:22:56-05:00

4 The Danish guitarist Soren Lee sounds remarkably Scolike on his latest recording, Living Now (Stunt STUCD01132; 55:37). Lee's slightly less distorted guitar-less than Scofield post-A Go Go, that is-and familiar phrasing, paired with Jesper Nordenstrom's spacy organ, kicks this right into early '90s Scofield and Larry Goldings territory. In fact, the title track and "Groove Commitment," tight slices of face-twitching jazz-funk, would make for one damn unfair blindfold test. Fortunately, that's not all the guitarist is up to on Living Now. Past the funky stuff, a set of quiet, plaintive tunes forms the core of this recording, finding Lee on acoustic guitar and in distinctive voice more often than not. The especially lyrical "Ballad for the Soul," featuring Lelo Nika on accordion, highlights a decidedly un-Scolike Lee caught in one long moment of openhearted, folksy romanticism. true 197 2007-06-07T14:05:44-04:00 13092 58 200205 true 0 67 2002-05-01T00:00:00-04:00

The Danish guitarist Soren Lee sounds remarkably Scolike on his latest recording, Living Now (Stunt STUCD01132; 55:37). Lee's slightly less distorted guitar-less than Scofield post-A Go Go, that is-and familiar phrasing, paired with Jesper Nordenstrom's spacy organ, kicks this right into early '90s Scofield and Larry Goldings territory. In fact, the title track and "Groove Commitment," tight slices of face-twitching jazz-funk, would make for one damn unfair blindfold test. Fortunately, that's not all the guitarist is up to on Living Now. Past the funky stuff, a set of quiet, plaintive tunes forms the core of this recording, finding Lee on acoustic guitar and in distinctive voice more often than not. The especially lyrical "Ballad for the Soul," featuring Lelo Nika on accordion, highlights a decidedly un-Scolike Lee caught in one long moment of openhearted, folksy romanticism.

2009-03-02T00:22:56-05:00

4 For Anna's Dance (Reservoir RSR CD 167; 51:55), guitarist and relative youngster Roni Ben-Hur set himself up with a band of wily old veterans, touting resumes long enough to burn out a perfectly serviceable ink-jet printer. He sets a deceptively high bar for himself in the process, but the CD's urbane hard bop is mostly taken at a leisurely pace. For the better part of an hour, Ben-Hur and company take turns trying to outdo one another with grace and laid-back style. Saxman Charles Davis' lazy way with the beat doesn't cut it, but at least Ben-Hur holds his own with the seigniorial crowd, unreeling single-note lines with an unflashy, workmanlike touch. Pianist Barry Harris' easy swing steals the recording, however, which is at its most satisfying when Harris, bassist Walter Booker and drummer Leroy Williams take the lead. true 197 2007-06-07T14:05:44-04:00 13093 58 200205 true 0 67 2002-05-01T00:00:00-04:00

For Anna's Dance (Reservoir RSR CD 167; 51:55), guitarist and relative youngster Roni Ben-Hur set himself up with a band of wily old veterans, touting resumes long enough to burn out a perfectly serviceable ink-jet printer. He sets a deceptively high bar for himself in the process, but the CD's urbane hard bop is mostly taken at a leisurely pace. For the better part of an hour, Ben-Hur and company take turns trying to outdo one another with grace and laid-back style. Saxman Charles Davis' lazy way with the beat doesn't cut it, but at least Ben-Hur holds his own with the seigniorial crowd, unreeling single-note lines with an unflashy, workmanlike touch. Pianist Barry Harris' easy swing steals the recording, however, which is at its most satisfying when Harris, bassist Walter Booker and drummer Leroy Williams take the lead.

2009-03-02T00:22:56-05:00

4 With the high-energy Changing Times (SteepleChase SCCD 31510; 63:30), Dave Stryker gets in one last end-of-the-millennium reference (the session was recorded in late '99) while also acknowledging the recording's preoccupation with nonstandard time signatures. The pun doesn't really hold up since the band's tight, tasteful playing hardly suggests fin de siecle madness and most of the group's nonstandard time signatures aren't all that nonstandard. The tunes aren't especially memorable, but the quintet-saxophonist Steve Slagle, bassist Bill Moring, drummer Tim Horner and percussionist Manolo Badrena-plays so confidently it's easy to forget that they aren't smoking through 4/4. Given the interest in meter, a fair number of the tunes do turn out to be stop-start funky numbers, with ballads thrown in for balance. The two-man percussion section crowds the sound a bit, and saxophonist Slagle sounds a little mannered, especially on slower stuff like the cover of John Lennon's "Julia." But Stryker himself sounds great, full of meaty solos and harmonic canniness. true 197 2007-06-07T14:05:44-04:00 13094 58 200205 true 0 67 2002-05-01T00:00:00-04:00

With the high-energy Changing Times (SteepleChase SCCD 31510; 63:30), Dave Stryker gets in one last end-of-the-millennium reference (the session was recorded in late '99) while also acknowledging the recording's preoccupation with nonstandard time signatures. The pun doesn't really hold up since the band's tight, tasteful playing hardly suggests fin de siecle madness and most of the group's nonstandard time signatures aren't all that nonstandard. The tunes aren't especially memorable, but the quintet-saxophonist Steve Slagle, bassist Bill Moring, drummer Tim Horner and percussionist Manolo Badrena-plays so confidently it's easy to forget that they aren't smoking through 4/4. Given the interest in meter, a fair number of the tunes do turn out to be stop-start funky numbers, with ballads thrown in for balance. The two-man percussion section crowds the sound a bit, and saxophonist Slagle sounds a little mannered, especially on slower stuff like the cover of John Lennon's "Julia." But Stryker himself sounds great, full of meaty solos and harmonic canniness.

2009-03-02T00:22:56-05:00

4 The Derek Bronston Group cultivates a nocturnal, frequently dour vibe throughout Ebb (Labor LAB 7029-2; 49:56), a recording that starts out in jazz-rock territory but quickly downshifts into ballads. The nominal leader/guitarist shows the most promise as a writer and accompanist; on the moody material that dominates the recording's second half, saxophonist Lisa Parrott makes good use of Bronston's long melodic lines. Much of the music aspires to a minimalist delicacy, which, when riding along on Bronston's arpeggiated chords, it sometimes achieves. Far too often, though, Bronston and company sound tentative and wrapped up in getting the tune out with minimal snag. Not a player of great facility, Bronston plays with a diffuse, waterlogged tone, and his careful solos tend to plod, as if he's not quite convinced he's got it right. Bassist Gary Wang and drummer Gerald Cleaver do provide solid support, however, and deserve a mention. true 197 2007-06-07T14:05:44-04:00 13095 58 200205 true 0 67 2002-05-01T00:00:00-04:00

The Derek Bronston Group cultivates a nocturnal, frequently dour vibe throughout Ebb (Labor LAB 7029-2; 49:56), a recording that starts out in jazz-rock territory but quickly downshifts into ballads. The nominal leader/guitarist shows the most promise as a writer and accompanist; on the moody material that dominates the recording's second half, saxophonist Lisa Parrott makes good use of Bronston's long melodic lines. Much of the music aspires to a minimalist delicacy, which, when riding along on Bronston's arpeggiated chords, it sometimes achieves. Far too often, though, Bronston and company sound tentative and wrapped up in getting the tune out with minimal snag. Not a player of great facility, Bronston plays with a diffuse, waterlogged tone, and his careful solos tend to plod, as if he's not quite convinced he's got it right. Bassist Gary Wang and drummer Gerald Cleaver do provide solid support, however, and deserve a mention.

2009-03-02T00:22:57-05:00

4 Staying refreshingly clear of any grandiose new standards pronouncements, Bobby Broom arranged a host of sunny '60s/'70s R&B and pop tunes for Stand! (Premonition 6691790754 2 6; 65:14) not only because the recognizable melodies connect with an audience, but also because, ostensibly, he likes them. It's hard to figure just how much he likes them, however, because he doesn't seem engaged with most of the material or even the other guys in the trio. After Modern Man, Broom's steaming Delmark release from last year, Stand! is a bit of a disappointment, and it starts at the top: a murky rendition of the title track that may be the gloomiest cover of that Sly Stone anthem ever recorded. That tune sets the mood for the rest of the CD, as Broom turns out one muted performance after another. Broom's trio mates, Dennis Carroll on bass and Dana Hall on drums, play it loose. That doesn't benefit the pop material, which can be pulled apart only so much. Broom seems to want a tighter context as well, and his bluesy, single-line playing seems at odds with the rhythm section a great deal of the time. The recording bottoms out with a take on the cloying "Can't Take My Eyes Off of You," but certainly rebounds on a driving "The Letter," which, unfortunately, comes a little too late to salvage Stand! true 197 2007-06-07T14:05:44-04:00 13096 58 200205 true 0 67 2002-05-01T00:00:00-04:00

Staying refreshingly clear of any grandiose new standards pronouncements, Bobby Broom arranged a host of sunny '60s/'70s R&B and pop tunes for Stand! (Premonition 6691790754 2 6; 65:14) not only because the recognizable melodies connect with an audience, but also because, ostensibly, he likes them. It's hard to figure just how much he likes them, however, because he doesn't seem engaged with most of the material or even the other guys in the trio. After Modern Man, Broom's steaming Delmark release from last year, Stand! is a bit of a disappointment, and it starts at the top: a murky rendition of the title track that may be the gloomiest cover of that Sly Stone anthem ever recorded. That tune sets the mood for the rest of the CD, as Broom turns out one muted performance after another. Broom's trio mates, Dennis Carroll on bass and Dana Hall on drums, play it loose. That doesn't benefit the pop material, which can be pulled apart only so much. Broom seems to want a tighter context as well, and his bluesy, single-line playing seems at odds with the rhythm section a great deal of the time. The recording bottoms out with a take on the cloying "Can't Take My Eyes Off of You," but certainly rebounds on a driving "The Letter," which, unfortunately, comes a little too late to salvage Stand!

2009-03-02T00:22:57-05:00

4 The proper strains of Emmanuelle Somer's oboe on the CD-opening cover of a Shostakovich string piece seem to announce an album of neoclassical austerity on Gal Ziv's latest recording, The Flow (Cadence CJR 1125; 66:55). The album foils that expectation right away, however, as the tune quickly breaks into a healthy swing. The very next tune, Ziv's ballad "Lorien," featuring a sanguine Don Braden on tenor, settles the debate quickly. The Shostakovich wasn't a feint so much as a sign of the delicate music to follow. The guitarist plays sparingly and deliberately, with an open tone and a very light touch. Ziv's group, with Joris Teepe on bass and Vito Lesczak on drums, follows his lead, playing with a decided swing and touches of blues, but in an airy, spacious way, not entirely unlike a drumified Jimmy Giuffre 3. Ziv even imports a bit of twang on "Drawing on a Foggy Window." Braden's extroverted tenor sits surprisingly well in this context and makes a terrific contrast. true 197 2007-06-07T14:05:44-04:00 13097 58 200205 true 0 67 2002-05-01T00:00:00-04:00

The proper strains of Emmanuelle Somer's oboe on the CD-opening cover of a Shostakovich string piece seem to announce an album of neoclassical austerity on Gal Ziv's latest recording, The Flow (Cadence CJR 1125; 66:55). The album foils that expectation right away, however, as the tune quickly breaks into a healthy swing. The very next tune, Ziv's ballad "Lorien," featuring a sanguine Don Braden on tenor, settles the debate quickly. The Shostakovich wasn't a feint so much as a sign of the delicate music to follow. The guitarist plays sparingly and deliberately, with an open tone and a very light touch. Ziv's group, with Joris Teepe on bass and Vito Lesczak on drums, follows his lead, playing with a decided swing and touches of blues, but in an airy, spacious way, not entirely unlike a drumified Jimmy Giuffre 3. Ziv even imports a bit of twang on "Drawing on a Foggy Window." Braden's extroverted tenor sits surprisingly well in this context and makes a terrific contrast.

2009-03-02T00:22:57-05:00

4 In late 2000, James Emery performed an informal concert with this group-Joe Lovano, saxes and percussion; Judi Silvano, wordless vocals, flute and gong; Drew Gress, bass-in Middletown, N.Y., and enjoyed it so much, he decided to record with it. The resulting Fourth World (Between the Lines BTL 020 / EFA 10190-2; 66:48) wavers between restless inspiration and indulgence. The recording opens on a promising note with "Bellflower," a genial three-way between Gress, Emery and Lovano on tenor, and ends with a pair of equally pleasing tunes, "Hannah's Song," and "In a Secret Place." Much in between catches participants reeling off long strings of notes with bent trajectories in a show of virtuosity-Emery's preternaturally quick acoustic-guitar lines and Silvano's upper-register control in particular-if also frequent aimlessness. Lovano and Emery share composition honors on the recording. Emery's pieces range from tight and genial (like the aforementioned songs) to less structured, exploratory things. Two of Lovano's gong-laden tunes take the processional route, sounding at times like a living-room jam-especially with Lovano engaging in his percussion fantasies and Silvano dragging out her flutes and gongs. Sure, it makes me sound like a wet blanket, but it has to be said: When the gang sticks to its own thing, and sets the drums, gongs and flutes aside, it sounds much better. true 197 2007-06-07T14:05:44-04:00 13098 58 200205 true 0 67 2002-05-01T00:00:00-04:00

In late 2000, James Emery performed an informal concert with this group-Joe Lovano, saxes and percussion; Judi Silvano, wordless vocals, flute and gong; Drew Gress, bass-in Middletown, N.Y., and enjoyed it so much, he decided to record with it. The resulting Fourth World (Between the Lines BTL 020 / EFA 10190-2; 66:48) wavers between restless inspiration and indulgence. The recording opens on a promising note with "Bellflower," a genial three-way between Gress, Emery and Lovano on tenor, and ends with a pair of equally pleasing tunes, "Hannah's Song," and "In a Secret Place." Much in between catches participants reeling off long strings of notes with bent trajectories in a show of virtuosity-Emery's preternaturally quick acoustic-guitar lines and Silvano's upper-register control in particular-if also frequent aimlessness. Lovano and Emery share composition honors on the recording. Emery's pieces range from tight and genial (like the aforementioned songs) to less structured, exploratory things. Two of Lovano's gong-laden tunes take the processional route, sounding at times like a living-room jam-especially with Lovano engaging in his percussion fantasies and Silvano dragging out her flutes and gongs. Sure, it makes me sound like a wet blanket, but it has to be said: When the gang sticks to its own thing, and sets the drums, gongs and flutes aside, it sounds much better.

2009-03-02T00:22:57-05:00