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Friday, October 10, 2008 |
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Reviews |
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The heralded arrival of any new singing sensation is oftentimes met with caution, but in the case of Abigail Riccards’ When The Night Is New the total package—her voice and the music—is one that truly deserves attention. Mark F. Turner AllAboutJazz click here to read full review For those who want an indication of whether their tastes are in sync with an artist’s essence, going along for a ride with multi-reedist Craig Yaremko is as straight-ahead as driving on a highway. Yet this is also someone who likes taking the scenic route. These are not detours off the main path but intrinsically threaded into the overall route so this should not upset those who prefer jazz straight-up. But this penchant can extend this leader’s appeal to those who like some novelty and modernity in their listening. Laurel Gross AllAboutJazz click here to read full review In jazz, for all of its love of the all-star session, the long-term collaboration is of utmost importance. There have been many such relationships: bassist Charles Mingus and reed player Eric Dolphy, saxophonist John Coltrane and drummer Elvin Jones, trumpeter Miles Davis and saxophonist Wayne Shorter. When players reach a level of understanding, notions of leaders and sidemen or soloists and accompanists become superfluous. Andrey Henkin AllAboutJazz click here to read full review Jim Saltzman is another gifted, pyrotechnical tenor player out of the Coltrane-Brecker school, one who, based on the evidence of this striking debut recording and all-original program, bears close watching. When he backs off on his sound, he displays an appealing, warm middle register, but for the most part the emphasis here is on high-energy, intense playing. Saltzman shows impressive control of harmonics, occasionally employing multiphonics, and his command of the altissimo register would likely give some alto players an identity crisis. On soprano he gets a full, smooth sound, equal parts Steve Lacy and Bob Wilbur, while maintaining a Coltrane harmonic-melodic sensibility. His use of bansuri and Native American flutes is largely textural, making for an incongruous yet undeniably compelling mix when complemented by Fender Rhodes piano. Samuel Chell AllAboutJazz click here to read full review Back in his alto madness days, Richie Cole played my hometown more than any other name Jazz musician. The first time it was just him and the late Eddie Jefferson with a pickup group. The latter was a salty old cuss; he dusted my broom on the pool table and had a few choice words about fellow singers (“Al Jarreau? Good voice, can’t sing changes”). I remember their chart of “Body & Soul” dropping to the floor on both sides of the grand piano. Next time Cole showed up with a rhythm section of Dick Hindman, Paul Warburton, and Colin Bailey but the third time it was with what was arguably his best band and the one featured on The Man With the Horn. This is the previously unreleased debut recording of this particular unit in action at Frisco’s Russian Hill Recording Studio. The tune list is in keeping with Richie’s eclectic whims of the time including a great version of the old war-horse “Peg Of My Heart” and the seldom heard title tune. Cole’s sometimes off-the-wall altoing and Bobby Enriquez’s karate chops, elbows and fist punches to the piano are often wisely separated by Bruce Forman’s big-bodied guitaring which allows everyone to get their breath. The pianist is featured on a fairly lengthy “Slaughter On Tenth Avenue” and things smooth down for a good reading of Buddy Johnson’s “Save Your Love For Me.” There is a video of this same group at the Village Vanguard from the same year that is worth getting. Richie and his combo were very entertaining in person and they turned a lot of younger listeners on to the joys of blazing Bebop. A nice souvenir of the band. Larris Hollis Cadence click here to read full review Hidden Intentions is a contemplative disc as well, in this case though, too contemplative for its own good. Jim Saltzman is a strong tenor player and his group is very competent but there are too many trackshere that are rapturous, stiffly-metered, mid tempo tenor showcases, and these similar pieces grouped together in the middle of the CD drag the entire thing down. It is much better at the begin-ning and end of the session where you have variety in the music with things like “Open The Open Door,” a strutting soprano sax and electric piano workout; the driving “No Fault” and “What May Come Of This?”; and the touching wooden flute feature “Losing Sight.” Rearranging or dropping one or two tracks would have worked wonders for this CD. Jerome Wilson Cadence click here to read full review If it seems that Richie Cole has not been recording much lately, there is a reason for it. He found fulfillment when he returned from tours to his house in Ewing Township, New Jersey. Specifically, he and his wife Risë enjoyed spending time in their rose garden, which gives the first track and this two-CD package its title. Just before Cole was ready to introduce many of the arrangements for his Alto Madness Orchestra at the Jazz Standard in April, 2006, his wife passed away. He went ahead with the engagement as well as the recording session planned for these CDs. Dedicated to Cole’s wife, Risë’s Rose Garden, captured the musicians’ still-fresh familiarity with the music. Risë’s Rose Garden includes 18 of the pieces that Cole had prepared for his ten-piece group (eleven, counting percussionist Ray Mantilla on two of the tracks). Despite Cole’s loss before the performance, his saxophone voice is still as bright, effervescent, and commanding as ever. In addition, the recordings contain some special moments, when for instance, Mingus alumnus Jack Walrath takes charge of “Peggy’s Blue Skylight,” elevating the excitement above the confines of the swinging arrangement. Guitarist Vic Juris works especially well with Cole whenever he appears, particularly on “There Will Never Be Another You,” which moves along with force and lyrical soloing. Unfortunately, Cole’s arrangements are mostly conventional with heard-that-before changes and licks. The orchestra’s excellent musicians do a fine job of reading the charts and implementing the dynamics, such as those demanded by the shuffle of “Blueberry Hill.” The samba of “Nightfall” no doubt provided little challenge for Mantilla or drummer Wayne Dunton. Its value lies in Cole’s inviting solo and in trombonist Rick Stepton’s laidback contrasting of mellow insouciance with rhythmic agitation. The surprise of Cole’s album lies not only in that his alto sax work remains characteristically vibrant and witty, but also that he was able to record it at all so soon after a tragic event in his life. Bill Donaldson Cadence click here to read full review After Dan Loomis moved to New York from Rochester in 2004, he has been establishing himself through a variety of engagements there as his reputation has grown. As well it should. On his debut album, I Love Paris, Loomis projects leadership on all of the tracks, though most of the melodic duties are performed by saxophonists Brian VanArsdale and Nathan Heleine. Without a chorded instrument in his group, and with the strong support of drummer Jared Schonig, Loomis’ quartet is solidly percussive, laying down varying rhythms over which the saxophonists can improvise. Loomis reworks the standards like the title song, the resonance of his bass vamp setting up the feeling for it from the beginning. When Schonig comes in with his second-line rhythm, the occasion is created for an exuberant version that becomes their own, not borrowing from anyone else’s. Similarly, “The Thrill Is Gone” is refashioned into a swirling mesh, allowing Van Arsdale and Heleine to raise the interpretation beyond give-and-take into an improvisational synthesis suggesting the influence of John Coltrane. That influence becomes evident when the quartet plays John Coltrane’s “Dear Lord,” which oddly enough, is more straightforward as tenor saxophonist VanArdales takes the unadorned lead, Heleine supplying the responding harmonic lines. “Goodbye” begins with Loomis’s mournful solo, slow and ruminative, before it grows into a fullyrealized statement. The original compositions are equally engaging. Loomis’ “Pied Noir,” for instance, relies on his forceful bass lead with an intriguing displacement of the beat that characterizes the piece as the horns engage in mid-range colloquy. Loomis’ quartet retains listener interest with extroversion and a unique perspective. I Love Paris introduces a forceful and creative bass player with much promise for the future. Bill Donaldson Cadence click here to read full review When Dave Noland starts playing the first track of Nomad, the re-harmonized, key-changing and rhythmically elasticized “The Way You Look Tonight,” one is reminded of the burly Texas tenor sound, forceful but with controlled articulation. Such similarity would be appropriate. For Noland is from Texas. San Angelo, to be exact. After years of Jazz studies leading to a masters degree from New Jersey City University, Noland moved to New York for a full-time career in Jazz. And New York is where Noland met the other musicians on Nomad, all of whom sought careers there from other parts of the United States as well. Noland’s first album reveals a saxophonist who delves into the music with feeling and an engaging tone. In addition, it features the talents of four other musicians, equally under-recognized despite their ability effectively to shape music. Throughout much of Nomad, Noland alternates between tenor sax and soprano sax as the music dictates, and the throatiness of his tenor sax sound contrasts with the ingratiating tonal clarity of soprano sax. “Nomad,” a quiet, thoughtful minor-key composition, emphasizes the floating quality of Noland’s soprano sax work with its slight vibrato, as does “Sweet Pea,” which features bassist Frank Hauch on an unrushed, hushed lead-in. On the other hand, “Pistol Pete” veritably surges as Noland plays the first chorus in an exhilarating unison statement with trumpeter Nathan Eklund. Pianist Jason Teborek is unobtrusively effective in completing the group’s potential. He is equally at ease with the coruscating rubato accompaniment of “A Pacer’s Tale” as he is with the jabs, dissonance, and swing of Thelonious Monk’s “Eronel.” Noland has shrewdly compiled a series of pieces that effectively highlight the versatility of his saxophone playing, from Hard Bop aggressiveness to standards to swaying low-key waltzes to ballads. Bill Donaldson Cadence click here to read full review A debut album, Roots and Branches features saxophonist Shirantha Beddage with his quartet in a program of original compositions. Originally from North Bay, Ontario, Canada, he’s emigrated to New York and beyond in his search for direction. With a firm foundation that recalls Sonny Rollins, John Coltrane, and Stanley Turrentine, he builds each selection seamlessly as a monument that has been reworked to his own liking. Beddage soars over and around each theme, expressing a wide range of emotions and having fun at it. He multitracks tenor and soprano on one selection, showing a natural conversational control in his work. Rhythmic variety, too, gives the session a big lift, as the saxophonist and his stellar team launch sparks of high energy interwoven with periods of quiet solace. He prefers the baritone saxophone, giving up 7 of the program’s 9 selections to its magical allure. Fluid and accurate, he makes the instrument speak as a voice with all its nuances and inflections. Beddage’s compositions ring in lovely melodies that are embellished and danced upon. Double bassist Ryan Kotler, pianist Michael Stryker and drummer Jared Schonig each step out on occasion with respectable solo work that gives the session plenty of action. As a unit, the quartet forms a cohesion that lasts. Supporting the saxophonist’s fruitful adventures, they merge comfortably alongside his lyrical outings. Soaring weightlessly, he steers his big baritone saxophone through ballet-like movements that seem to float on delicate branches. From the roots of Jazz, he’s created branches for his saxophone conversations that reach out. Shirantha Beddage brings fresh ideas to the mainstream world and comes recommended. Jim Santella Cadence click here to read full review Alto saxophonist Richie Cole is the last of a breed—a fast and competitive musical gunslinger acquiring near-legendary status for his willingness to demonstrate his command of Charlie Parker's bebop language by taking on all comers at any speed—Billy the Kid packing an alto instead of a revolver. Samuel Chell AllAboutJazz click here to read full review The impressive vita and discography of Don Friedman are but touchstones to the musicianship of this pianist who, like Kenny Barron and Hank Jones, navigates the jazz mainstream while remaining perpetually fresh if not cutting edge. On Waltz for Marilyn the seasoned veteran is joined by three like-minded, proven young musicians who bring the leader’s conceptions to realization while making strong statements of their own. It's as though the pianist's flowing inventiveness has been magnified by four. Sameul Chell AllAboutJazz click here to read full review An accomplished sideman (Dave Valentin, James Spaulding, Claudio Roditi) and a graduate of William Paterson University’s acclaimed jazz studies program, woodwind multi-instrumentalist Jim Saltzman is a mainstay of the New York and Philadelphia jazz scenes. With a resume like his, the fact that Saltzman’s playing is as self-assured as any national act is no surprise. The more pleasant surprise is the quality of the originals he brings to Hidden Intentions—all of them delivered by a hard-hitting quartet that thinks and moves as one. J Hunter AllAboutJazz click here to read full review Saxophonist Jim Saltzman and his band have hit new strides with their latest release Hidden Intentions. Produced by Saltzman and executive producer John Sutton, the ten tracks were recorded on October 23, 2006 at Charlestown Road Studios in Hampton, New Jersey. The arrangements have a profound and experimental touch to them like they were derived on the spur of the moment. The instrument parts are very organic as they are emotively executed and chemically react off of each other. Each section acts as a catalyst to inspire the continued progressions which at times causes the songs to go on an on as if they may never end. Susan Frances Jazz Review click here to read full review This is a fun record. Bassist Dan Loomis' pianoless quartet features colorful solos, exciting interplay between the musicians and stirring ensembles. In general the melodies are strong and, because the musicians listen very closely to each other, a lot of magical moments occur. Starting with an adventurous but melodic rendition of "I Love Paris," progressing through some originals, rare revivals of John Coltrane's "Dear Lord" and Sy Johnson's "For Harry Carney," and concluding with the exuberant "Lakesha," there are no slow moments heard along the way. Tenor saxophonist Brian VanArsdale (who contributed two pieces) and altoist Nathan Heleine constantly play off of each other's ideas, Jared Schonig's drumming is full of rich tones (almost as if he were playing timbales) and leader Loomis mostly plays in support of the other musicians but his occasional solos are memorable. This dynamic set is one of the top new jazz releases of 2007. Scott Yanow All Music Guide click here to read full review Risë's Rose Garden is a compelling, if not profound, statement of Richie Cole’s vision of “Alto Madness,” the saxophonist’s respectful allusion to the Sonny Rollins/John Coltrane lower reed affliction. The disc was recorded in the wake of Cole’s wife’s death last year—and if, as paraphrased by the late Will Durant, the greatest beauty is begat of heartbreak, then Risë's Rose Garden exists as a temporal definition of this process. C. Michael Bailey AllAboutJazz click here to read full review There’s often more in a package of music than meets the eye—or ear. I don’t know how difficult it must have been for saxophonist Richie Cole to produce this album, but I can imagine. The Risë in the title is Cole’s wife, who passed away last April, only a few weeks before the album was recorded. Risë Cole was fifty years old. One of Risë’s—and Richie’s—greatest pleasures lay in tending the rose garden that surrounded their home in Ewing Township, New Jersey. Richie had already written the song “Risë’s Rose Garden” for his wife, thus giving the two-disc set its somber yet suitable name. Jack Bowers AllAboutjazz click here to read full review Saxophonist Richie Cole perfected the art of turning all tunes, no matter their origin, into be-bop, thus perfecting what Charlie Parker started when he launched into his now famous recording of “Embraceable You.” Two simultaneously released albums, recorded twenty three years apart, show off Cole's talents to powerful effect. C. Michael Bailey AllAboutJazz click here to read full review “It is gratifying to find that altoist Richie Cole, one of the major jazz personalities of the 1970s, is still playing at the same high level on this album, which marks his 25th date as a leader….These ten tracks comprise a vibrant and brightly performed set. Richie Cole's fluent bebop style is nearly identical to his exuberant playing decades ago.” Michael P. Gladstone AllAboutJazz click here to read full review “…As much fun as the swinging tunes on this CD are to listen to, my favorite cut was the ballad “Portrait of Jenny.” … The arrangement is so richly constructed and full of color and nuance that you’d swear you were listening to a full sixteen-piece band. Just how he does this remains Richie Cole’s secret.” Rob Mariani AllAboutJazz click here to read full review "I must concede that alto saxophonist Richie Cole’s new album, Back on Top, quickly captured my heart,… Back on Top is the first release for Jazz Excursion Records…It’s an auspicious debut, one in which Cole and the Alto Madness Orchestra are at the top of their game, producing good-natured straightahead jazz that is well worth savoring,…" Jack Bowers AllAboutJazz click here to read full review "Thanks for the airplay copy of the excellent new disc from Richie Cole. I've always enjoyed his recordings, and this one is no exception. Congratulations on a fine release." Lenny Mazel Jazz Director KCME-FM click here to read full review Colorado Springs, CO |