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Here’s to Life
Billy Ruth

In this day and age there are many copies and fewer originals. Philadelphian crooner Billy Ruth is and original. Having sung in virtually every venue within and around the City of Brotherly Love, Mr. Ruth has entertained countless audiences and been backed by a who’s who of Philadelpia talent.

Billy Ruth now has released his first cd, Here’s to Life. Producers Michael Forte and Leonard Guercio put together a star-studded cast of Philadelphians to back Ruth in his first national release.

Certainly comparisons can be made to Sinatra but Ruth treats each arrangement here with his own vocal sound and touch. Bill Whited contributed the majority of the arrangements which serve as the perfect backdrop for Ruth’s mature vocals.

The cast of musicians assembled for the three big band cuts were. Dennis Wasko on trumpets, Ron Kerber on alto and tenor saxophones, Jonathan Rees on alto, Skip Spratt on baritone and tenor saxes and Paul Arbogast on trombones.  Interestingly enough the “virtual”  big band swings hard, particularly when backed by drummer Carl Mottola. Four horn players overdubbed the five saxophone, four trombone and four trumpet parts over the course of two separate sessions. Give a listen to the drums kicking the horn figures, it is difficult to imagine they were not in the room at the same time! Nice job Carl.

As much fun as the big band tracks are, they are only part of the story on Here’s to Life. World class jazz players Larry McKenna and John Swana (who just happen to live in Philly) lend their solo talents on As Long As I Live and George Rabbi lends a GORGEOUS and heartfelt flugelhorn line to the title track. Lastly, Ron Kerber shares his talents on flute and alto flute on the Jobimesque If.

The star-studded cast of Philadelphians mentioned earlier hosts the contributions of three wonderful bassists, Jack Hegyi, Kevin MacConnell and Andy Lalasis. Guitarists Rudy Troccoli, Sony Troy and Johnny Valentino all lend their solo talents on different cuts. Chic Sperell and Edgardo Cintron are on drums and percussion respectively.

The ensemble and solo string playing, particularly behind Billy Ruth’s voice and George Rabbi’s flugelhorn is just beautiful. Whited’s piano underscoring and string arrangement on Here’s to Life is one of the most precious moments on this recording. Kudos to Jennie Lorenzo, Davis Barnett, Emma Kummrow and Igor Szwec for the lush ensemble string playing.

After several listenings this writer continues to be pleased to have been part of the big band project for Billy Ruth’s Here’s to Life. My personal favorites are If and the title track which are understated, lush and tender – just like Mr. Ruth.

You can find out more about Billy Ruth at http://billyruth.com

Analog Man - Ernie Watts Quartet
To The Point – Live at The Jazz Bakery - Ernie Watts Quartet

We listeners go through periodic changes in our habits. There are our favorite recordings and then the things we purchase, check out and put on the shelf. Last year’s release from Ernie Watts Quartet, Analog Man has taken a prominent place on the passenger’s seat of my Jeep. It won’t be on my shelf any time soon!

In this day and age where we are deluged with sound, media content and general noise pollution, many of us retreat to the cab of our vehicles for quality listening time while driving. Not many Cds are stored in my car and the rotation seldom changes. Dexter Gordon, Michael Brecker and John Coltrane Cd Jackets are commonly found sprawled among directions to gigs. Now Analog Man by Ernie Watts can be found among my favorites. Perhaps if I had a Cd changer, they would all be in there rather than on the front seat…

…Enough about my car – Ernie Watts has been a formidable presence among saxophone greats for decades. Although he has lived the history and understands tradition, he is a saxophonist for today. Despite his modern sound, Ernie Watts has often been heard to say, “I’m an analog man in a digital world.”

Analog Man sets sail on its title cut with a medium swing, hard groovin’ romp by the Ernie Watts Quartet. I am immediately reminded of how much I have enjoyed Ernie’s playing over the years and again how wonderful he sounds here.

Drummer Heinrich Koebberling starts off the second track Elements with solo drum introduction. Koebberling displays some colorful cymbal and tom work before laying down the up tempo swing which transforms into hard-bopping sparing session between him and Watts on tenor.  One can’t listen to this without hearing a bit of reverence to Trane and Elvin. I trust this is a comparison Watts and Koebberling don’t mind. Christof Saenger follows suit with a concise yet notable piano solo to finally be followed by the first melodic statement by Ernie Watts. Bassist Rudy Engel and tenor man Watts enjoy a bit of interplay before the second melodic statement. The composition is highly improvisational, daring and enticing to this listener. Lastly, Saenger and Watts play the song out with a contrapuntal improvisation section and Watts ultimately has the last word on this one – rightfully so.

The third cut Paseando features Ernie Watts on soprano sax this time. The quiet, pensive mood set by the rhythm section is a perfect bed for Watt’s delicate yet commanding soprano.

The rest of the Analog Man is filled with great sensitivity and interplay from the quartet featuring Saenger and Engel and Koebberling.

The follow up offering, To the Point comes from his L.A. version of the Ernie Watts Quartet. The stateside quad features David Witham on piano, Bruce Lett on bass and Bob Leatherbarrow on drums as well as Watts on tenor.

The concert recorded live at The Jazz Bakery opens with Watts solo tenor voice expressing the agility and technique he has become well known for possessing. The influence of Trane remains part of his playing but he is not a mere copy. Watt’s sound is instantly recognizable as it has been for some 40 years.

Following Ernie Watt’s unaccompanied opening the quartet launches into an up tempo version of Tadd Dameron’s Hot House. Watt’s stretches first, followed by Witham on piano. Tenor and piano trade with Leatherbarrow before the final frenzied chorus.

The frenzy of the opening track is offset by the subdued Season of Change penned by Watts and Witham.

Michael Brecker left his impression on the rest of the world of music. His passing has seen the dedication of several songs and performances over the last year or so. Ernie Watts dedicates the third track to him. For Michael is a wonderful canvas for Ernie Watts tonal color palette.

The title track, again written by Watts and Witham gets right To the Point. Mr. Watts sets up the song by explaining how each artist comes to find their own voice – the point of truth. The quartet then follows this telling introduction with an energetic display of “who they are.”

The bluesy Road Shoes opens with Witham on piano for a couple choruses followed by the head played by Ernie Watts. Solos go around the ensemble ending with Lett on bass and Leatherbarrow trading with the rest of the group. A final statement of the head takes this toe-tapper home.

The haunting Nightscape by John Mayer seems reminiscent of Coltrane’s Central Park West. Watts is again on tenor as opposed to Trane’s soprano but the mood feels similar to this listener.

Reaching Up is the final recorded performance from To the Point Live at The Jazz Bakery. The percolating rhythm set up in the intro carries throughout the tune with the exception of a relaxed interlude or two. Watts and Leatherbarrow work off of each other as Witham and Lett round out the quartet.

This latest recording by the Ernie Watts Quartet is another testament to Flying Dolphin Records, Watt’s own label. Their commitment to recording jazz music that they choose to play is a treat for the rest of us.

You can find out more at http://erniewatts.com.

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Blueprints of Jazz Vol. 1, Mike Clark
Blueprints of Jazz Vol. 2, Billy Harper
Blueprints of Jazz Vol. 3, Donald Bailey

The three volume series entitled Blueprints of Jazz by Talking House Records was released back in 2006. Jazz veterans Mike Clark, Billy Harper and Donald Bailey lead their separate ensembles in their own unique journey in jazz.

Clark’s ensemble most notably features Christian McBride on bass, and Donald Harrison on alto. Jed Levy’s beefy tenor sound is a real treat to hear in this setting. Readers not familiar with Clark’s varied background playing with many jazz legends would do themselves a favor to check out this remarkable drummer.

Billy Harper’s music on Volume 2 is not only rooted in traditional jazz but lined with a message for the listener. Harper’s preaching is woven into the tunes here and there – take it or leave it. The music is performed with great conviction and passion.

Volume 3 of Blueprints in Jazz showcases the talents of another impressive drum veteran – Donald Bailey. Longtime Philadelphian saxophonist Odean Pope is featured throughout both on tenor sax and with his own compositions.

Soul and Science 2: Electric Boogaloo
Chris Greene Quartet

Saxophonist and composer Chris Greene was born in Evanston, IL and began playing saxophone at age ten.

He was a young member of the award-winning Evanston High School Wind and Jazz Ensembles and in 1991, Greene went to Bloomington, IN to attend the prestigious Indiana University Jazz Studies program.

Greene returned to Chicago 1994 where he immersed himself in the regional music scene and has since collaborated with some of the nation’s most creative and versatile musicians.

Chris Greene’s latest release Soul and Science 2: Electric Boogalo features Greene on saxophones, Damian Espinosa on keyboards, Marc Piane on acoustic bass and Tyrone Blair on drums and percussion.

The quartet walks the line between more traditional forms of jazz and fusion while still creating a sense of originality.

You can find out more about Chris Greene at http://www.chrisgreenejazz.com

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Jazz Saxophone Etudes Volume 2 by Greg Fishman

Greg Fishman has released his third installment of his take on jazz saxophone playing. His first two books Jazz Saxophone Etudes Vol. 1 and Jazz Saxophone Duets, both received critical acclaim by teachers and players alike. James Moody, Jerry Coker, Plas Johnson, Mark Colby, Gary Campbell and Bob Sheppard as well as the late Michael Brecker have all lended their praise for Fishman’s books. Can they all be wrong? Absolutely not! Greg Fishman’s books are outstanding gems with comprehensive information from explanation to play-along. Not only is the information there for the taking but also Fishman’s demonstrations on both tenor and alto saxophone are swinging and flawless. His sound and pitch is something any teacher should have absolutely no trouble telling a student to use as a model while playing along at home. Fishman sounds equally adept on both the alto and tenor saxophone voices. I wonder how good he sounds on soprano and baritone? – I would imagine pretty darn good!

Fishman is a native of Chicago who has recently moved to Arizona where he enjoys a prosperous career as both a player and educator. The vocabulary demonstrated in his etudes is pure bebop, tried and true. They feel great in your fingers and sound wonderful to your ears.

Each of the 12 etudes is named after a different street in Chicago – a nice tribute to the place he was born back in 1967. Fishman has been playing professionally since age 14 and earned a Masters in Jazz Pedagogy from Northwestern University. Neither of these accomplishments is lost on the etudes. The ideas presented in this book – and those before it – represent a dedication to the music called Jazz.

The two CDs, one each for alto and tenor, feature Fishman along with Dennis Luxion on piano, Eric Hochberg on bass and Phil Gratteau on drums. The world-class rhythm section swings hard as Fishman demonstrates each etude succinctly and with great precision.

There are many composers, saxophonists, and educators out there who possess these three unique abilities. Often one facet of their musicianship outshines another. Not with Greg Fishman. Fishman shows he is equally adept at composing, performing and teaching the concepts included in these etudes. They are a “MUST HAVE” for any saxophonist, or student of the instrument.

gregfishmanjazzstudios.com

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John Ricci Holding Time

From the first note John Ricci captured my attention. Ricci’s tenor sound is complex. His playing is bold, robust, energetic but not devoid of warmth. His sound is unique and completely his own. Comparisons can be made to contemporaries such as Chris Potter, Seamus Blake, Eric Alexander or even Joe Lovano. The aggression he displays on the opening track Mode Time however is more reminiscent of Trane or perhaps Brecker and Berg.

Holding Times’ second cut initially appeared to be the sometimes overdone jazz classic Here’s That Rainy Day. The only similarity to with song of the same name was the ballad setting. After two listens I still struggled to hear the song known as Here’s That Rainy Day. Upon closer inspection, it became clear that the second cut was in fact Ballerina! After a bit of a reality check I realized that I had read the song titles straight down on the CD jacket. Simply noticing the number “3” next to Here’s That Rainy Day would have saved me from questioning my knowledge of jazz standards! Ricci’s intervallic, while still melodic solo on Ballerina follows some tender playing by pianist Joshua Bowlus.

Despite my earlier confusion, I finally moved on to thoroughly enjoy Here’s That Rainy Day. The Latin treatment here keeps this classic lively and fresh. Billy Thornton on bass and Peter Miles on drums set the tone by pulsing and percolating behind Bowlus and Ricci. Changing things up a bit, bassist Thornton takes the first solo. John builds intensity and breathes life back into the rhythm section with his modern and rhythmic ride. His improvisational lines captivate the listener. He often favors larger intervals, which further emphasize his classically modern approach.  Listening to this take makes me feel like playing the tune again! Thanks to John Ricci and his quartet for the inspiration.

The title track Holding Time swings from the top while seemingly changing from 5/4, 4/4 and then 6/4. John Ricci takes the melody, bringing the tune back to 4/4. There is something about this setting that reminds me of so many classic ECM recordings done in Oslo. Bowlus cascades his fingers across the keys while Thronton and Miles chug along and swing hard throughout.

While listening to the cuts on John Ricci’s Holding Time, I constantly found myself swaying and moving to the music. The groove in this quartet is infectious – and clearly by design. Ricci himself quotes his mentor Donald Brown, “When you play with or listen to others, it needs to groove from deep inside and make you and all those around you want to dance from the inside out.” Ricci’s music has clearly done this.

Slow Tango, an introspective and pensive ballad provides the only “down time” on Holding Time. The interplay between piano, bass and brushwork by Peter Miles has its charm. Ricci’s sound seems to open up a bit when he solos. To these ears shades of Garbarek creep out of the shadows. John Ricci displays great depth as a player, showing yet another side to his complex sound. I love the clinking keys behind the subtone!

Just when I thought I had this cat figured out, John Ricci displayed yet another side on the final cut. Bounce Blues by Ben Webster begins by Ricci paying homage to Webster and completely embracing the sound, style and feel of that tradition – for a bit. Again tradition and modernism are blended by Ricci and the rhythm section. By the second solo chorus, John Ricci abandons all tradition and begins to bend, break and twist all the rules. Bowlus brings us back to the traditional following Ricci’s musical tantrum. Bowlus takes it out a bit but only as a tease. He finishes just as “inside” as he started. Bassist Thornton has the last word before the final out chorus.

Lastly, the CD jacket proclaims, “Recorded in a traditional live/studio setting with minimal processing and absolutely no overdubbing.” The quartet’s esthetic under the direction of John Ricci is rooted in both tradition as well as modernism. That esthetic can be difficult to achieve bet is done so deftly here on Holding Time. Buy it. Everyone who knows Ricci’s playing will be pleased. Others who are not yet familiar with John Ricci’s tenor saxophone playing need to educate themselves. Listening to this CD will be one of the most enjoyable lessons you have taken!

http://www.myspace.com/riccijazz

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KALI by Theo Wanne Classic Mouthpieces

A Review by Skip Spratt of SaxShed.com

Renowned mouthpiece maker Theo Wanne recently launched Theo Wanne Classic Mouthpieces at TheoWanne.com. This new Wanne endeavor, run by Theo and brother Tom, replaced MouthpieceHeaven.com one year ago.  The original website and shop was a haven for vintage mouthpiece connoisseurs and players seeking quality refacing on pieces of any kind. I was also a customer when Theo’s shop was located in Philadelphia. It is worth noting that the majority of the pieces I play on today all have had Theo’s touch applied to them.

The following review is on the new line of KALI mouthpieces however I will add some comments on the PARVATI I tried as well. For those looking for honesty and an unbiased review, I will try to be both. We are all undoubtedly looking for honesty here. My admiration and respect for Theo’s work is documented here as well as in the previous review of his AMMA mouthpieces.

Last week I received four KALI and one PARVATI via FedEx. These were loaned to me for the purpose of my opinion and review. The four pieces were a Rhodium 7*, Rhodium 8, Gold 7* and Gold 8. I am pleased to tell you that the KALI of my choice passed every test with flying colors!

In terms of overall sound, the gold KALI were a better match for me and my 1969 Mark VI. The playability of all four pieces was superb. After extensive play-testing with the same reed as well as many different reeds I came to a conclusion that the 7* and 8 in gold both had their unique charm. The 7* was the most comfortable piece for me when used with my standard choice of Java 3 reeds. The subtoned low Bb all the way into the extreme altissimo was all easy to achieve. Additionally, the resistance vs. free blowing nature of the piece seemed to be in keeping with the modified Links, Dukoffs and Guardalas I have played over the years. The KALI 8 on the other hand was just a SCREAMER! It took more air and I favored a softer Java 3 to compensate. The end result was a fat, warm, robust tenor sound with a similar ease of playing as the 7*.

When compared to my Theo Wanne Custom Links, which is the only direct comparison I made, the KALI sounded more spread and was clearer with less noise in the sound. This was particularly noticeable at lower volumes. The 7* had the sound and feel closest to my modified NY Link. The 8 had a sound with plenty of projection and just as big as a house! Recorded on a cheap tape deck, laptop computer and studio micing – the gold KALI both sounded like me – just a warmer, more focused me. Although the sound of the KALI is very warm, there is an abundance of edge available when pushed.

In addition to play-testing these pieces on my own I had the pleasure of enlisting two colleagues along the way. When the pieces first arrived my friend Kaj Hansen gave a listen to all four KALI. He immediately preferred my sound on gold over rhodium and found it difficult to choose 7* or 8 as being better. When pushed to make a choice, he preferred the bolder, more robust sound of the 8.

One day later, Carl Cox, who is a wonderful player in his own right gave a listen to me and tried the KALI for himself. Oddly enough, he sounded better on the rhodium and best on the PARVATI! Morphology obvious plays a large part in what pieces each individual prefers. When Carl listened to me he was torn between the 7* and 8. We concluded the 7* was a better well-rounded piece for many situations and the 8 was a great screamer which still could be controlled when necessary.

Each KALI, as well as Theo’s original AMMA comes with the ingenious Liberty Ligature, Reed Replace Cap and interchangeable bite pad (mouthpiece patch). The ligature is integrated into the mouthpiece by two removable setscrews. There are available interchangeable pressure plates and five placement options for the ligature. I chose to use the Liberty Ligature in its default (2nd hole) position. Removing the Liberty Ligature and opting for a traditional ligature also provided me with two conveniences. The first convenience was being able to use a regular mouthpiece cap instead of the reed replacer cap. The second was being able to access the table for flattening the tip of a warped reed. This old trick of placing the tip of the reed under your thumb and against the table has become habit for me. I spoke with Theo at length regarding my experiences with the Liberty Ligature and Reed Replacer Cap. As usual, Theo was responsive and eager to assimilate my findings into future designs.  

Lastly, a note on the PARVATI: I can tell you with all honesty that my buddy Carl Cox sounded best on this PARVATI 7*. It played extremely well for me but a PARVATI just isn’t the right piece for someone who has been a fan of Dukoffs and Guardalas. As I told Theo in an earlier conversation, “Too much Joe Lovano in my sound on the PARVATI.” Players looking for a darker, rounder more traditional piece will gravitate toward the PARVATI.
 
All this said, I have not even approached the topic of craftsmanship yet. Theo’s attention to detail is surpassed by none. The pieces are all a work of art. You can talk about chamber sizes, tips, and rails, roll over baffles, curved inner sidewalls all you want. The bottom line is either a piece works for you or it doesn’t. These KALI work GREAT for me. They give me the core to the sound with plenty of brightness and edge when pushed.

Over the years I have played on Dukoffs, modified Links and an original hand made Guardala MBI exclusively for 14 years. Following the 14 years on the Guardala MBI, I felt the need for change. That is when Theo customized a new, NY Link for me. That Link gave me more fullness of sound, yet with better control than the original MBI. This KALI allows me to recapture some of what I had in that original Guardala, while it maintains the bonuses associated with the large chamber. Now I just have to get a KALI to keep!

You can judge for yourself with the clip below.

Skip Spratt
SaxShed.com

http://saxshed.com/kcl.mp3

Jazz Etudes for Saxophone Level 3 by Randy Hunter
(24 Swing & Bop Studies for Tenor and Alto)

Atlanta based saxophonist Randy Hunter has released his book and CD set, Jazz Etudes for Saxophone Level 3. Mr. Hunter recently accepted a position teaching jazz saxophone at Emory University in Atlanta, GA and will begin teaching there in Fall of 2008. This CD features Randy Hunter playing tenor sax along with Guy Fenocchi on guitar, Moffett Morris on bass and Tim Nash on drums.

The 71 page Jazz Etudes for Saxophone Level 3 is available with parts for both alto and tenor on facing pages. The inclusion of both alto and tenor parts within the same book has become more common with new saxophone publications. It is a handy feature I’m glad to see Randy Hunter has included. Having both parts available in the same book is a matter of convenience when teaching with mixed saxophones. All the examples are demonstrated on tenor, however alto music is provided as well.

Each of the 24 etudes is based on a standard set of chord changes. There are actually six referenced standards such as Just Friends and There Will Never Be Another You and Green Dolphin Street. Each of the six set of chord changes features four separate etudes written by Hunter. The etudes are in presented in progressive order.

In addition to the etudes themselves, Randy Hunter offers some helpful insights on jazz theory and articulations. Each level of the four etudes is explained in great detail with suggestions for the student. The explanations are clear and easy to understand, but not “dumbed down” too much for more advanced students.

In my own studio I have found the etudes to be quite useful for sightreading and improvisational play-alongs. Although each etude is demonstrated by Hunter on tenor, I find the rhythm section tracks most useful with students. Each student can learn and interpret the solo with the guidance of their own teacher and/or improvise over the changes.

Kudos to Randy Hunter who has provided the saxophone community with another useful jazz publication.

www.randyhunterjazz.com

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Howard Isaacson Blue Skies

Atlantic City saxophonist Howard Isaacson has just released his newest CD Blue Skies. The slick and smooth release further solidifies Howard’s place among the those making a name for themselves in smooth jazz.

Isaacson began his career in Philadelphia and like many or that area, migrated to Atlantic City for plentiful work in the Casino lounges and showrooms. Blue Skies features an impressive array of some of A.C’s finest along with Isaacson on saxophone and woodwinds. The list of personnel includes Frank Strauss on keyboards, Vince Colella, John Mulhern, Kit Worton, Phil Polsinelli and Alex Domshot on guitars, Andy Lalasis and Rich Kurtz on bass, Matt Curran on drums, Bob Ferguson on trumpet and bassist Bob Fowler programming and mixing. In addition to Isaacson’s better-known woodwind playing, he is credited with keyboards, drum programming, trumpet and trombone.

Right off the bat Kickin’ Back caught my attention with the opening guitar riff. My initial thought was, “Is that the best guitar sample in the world or just a great studio guitar sound?” As I should have guessed it was the sound of Vince Colella, longtime Atlantic City guitarist. Isaacson is featured on soprano saxophone here as well as additional woodwinds filling in the background.

Street Smart features Isaacson’s tenor on this smoothed-out hip-hop groove. The soprano and other saxophones add a nice touch to the background as well.

Special Delivery features multi-instrumentalist Isaacson on flute. He demonstrates here that he is a formidable flute player as well a saxophonist – something I know first hand from our work together in Atlantic City.

Beaches opens with another familiar sound to these ears – Frank Strauss on synth. Howard Isaacson, in addition to being a fine musician himself, has enlisted the aid of Atlantic City’s finest on Blue Skies. Andy Lalasis and John Mulhern lend their talents on bass and guitar respectively. The alto solos without any rough edges following Strauss’s recap of the intro synth solo.

The aptly titled First Snow captures the mood and spirit felt by many during the holidays. Isaacson’s soprano sound is his own but this pop ballad setting is “Gorelickesque” – not a bad thing at all.

Blue Skies heralds the inclusion of the remake of Earth, Wind and Fire’s  Fantasy. For the third time I was hit by a familiar and very dear sound to me on this CD. This time it was the voice of Kathy (Wilson) Fowler, another veteran of the casinos in A.C. Isaacson takes the soaring alto lead opposite Kathy Fowler’s – perfect as always – vocals.

Howard switches back to tenor for the melody and solo on Block Party.  The sax section interlude and following solo is reminiscent of Tom Scott and the L.A. Express. Strauss stretches out again here on his signature synth sound with Isaacson having the last word on the vamp out.

About midway through this journey Isaacson offers one of the nicest tunes on Blue Skies. Summers Past reminds this writer of many Atlantic City summers gone by. Thanks to co-writers Isaacson and Lalasis for bringing back the memories. 

Saturday Night features Howard on tenor with Strauss setting up the solo with a rhythmic piano vamp. Worton, Lalasis and Curran groove hard all the way on this one.

The title track Blue Skies shows off Isaacson’s signature alto sax sound – arguably his favorite voice. Alex Domshot stretches the smooth jazz sensibility with his harmonically provoking guitar solo.

When I first heard Getting Closer and the opening bass solo I thought, “That’s Andy.” Andy Lalasis shows his true colors with the chorused (I think it’s chorused) bass intro. Solos by Isaacson and Domshot follow the catchy melodic vamp.

The final cut entitled Desert Sun, complete with slap bass and hand claps sets up the party atmosphere for the way out on this one. The tune meanders through several feel changes with the final statement being Howard Isaacson’s alto saxophone soloing above the band. This seems a very fitting end to this journey through Blue Skies.

I would be remiss if I did not mention that I am envious of Howard Isaacson’s recent collaboration with Vince Colella, Kathy (Wilson) Fowler, Frank Strauss and Matt Curran. Kathy Wilson had one of THE most smokin’ bands in the Atlantic City Casino Lounges during the 1980s. I am proud to have been part of that. It is wonderful to hear Howard along with other great talents from Kathy’s old band and beyond on Blue Skies.

www.howardisax.com

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Ed Vezinho – Jim Ward Big Band – With Friends Like These

They’ve done it again. Longtime Atlantic City showroom musicians Ed Vezinho and Jim Ward have released their third and arguably best CD on Dreambox Media. Although I am happy to be among the “friends” who contributed to this project, I can honestly say this recording is among the best big band recordings I have heard in recent years. Syracuse natives and Atlantic City transplants Vezinho and Ward have been fueling this big band fire for 26 years now. Vezinho’s writing, arranging and lead alto skills reflect his vast experiences playing for virtually every big name in the business. Ward’s lead trumpet sizzles here as it has for many years playing lead for some of the best in the business.

For nearly 20 years, I have been pleased to be among many in the Atlantic City area who have played with this big band. Most often I would be called upon to play one of the tenor chairs and at least once on second alto next to Ed. This is brought up only to highlight the fact that I’ve had the pleasure of being on the bandstand with Ed, Jim and the boys on many occasion. The banter between the musicians can be seemingly harsh and cutting at times. The ribbing passed around by band members and their leaders is not for the faint of heart. All this said, they are a close net and close-minded group who know how to play in an ensemble – as well as “bust” on each other as an ensemble.

With Friends Like These is a fitting title for such a group. All kidding aside, the “friends” who lend their talents here drive this excellent big band to new heights.

The twelve tracks on this CD run the gamut from standards to show tunes and some clever originals from Ed Vezinho. My personal favorite on Friends Like These is Joy by J.S. Bach and “swingbanderized” by Vezinho’s clever arrangement. The score plays out with both a traditional as well as irreverent look at Bach’s famous work. Robert Rawlins and Clint Sharman offer wonderful solos on flute and trombone respectively. Joy is clever, well written and exceptionally well played by the ensemble.

Ron Kerber, Michael Pedicin, Al Harrison, Robert Rawlins, Pete Colangelo, Denis DiBlasio, George Rabbai, Larry McKenna, Brian Betz and yours truly make up the friends who are featured beyond the regular band members. Most of these Atlantic City veterans also enjoy positions at local colleges and universities such as UofArts, Temple and Rowan University. Each stylist offers their own jazz perspective here on Friends Like These.

Not to be outdone by the guests, the EVJWBB regulars show their own impressive talents throughout this musical journey. The tenderness of octogenarian Stan Weiss’ baritone is well documented on Ellington’s Sophisticated Lady. Longtime tenor man John Guida shows a couple different sides while swinging on the opening Hat Out of Bell and then the funky title track With Friends Like These.

The Ed Vezinho – Jim Ward Big Band is comprised of many talented individuals who have played with every conceivable person in the business from Sinatra to Sinbad. Both Vezinho and Ward are generous with sharing solos and lead playing within the band. This recording displays only some of the abilities found within the band. Certainly every member of the band is worthy of recognition. It is well worth the money and time to discover, purchase and listen to With Friends Like These – time and time again.

Listen to SkipSpratt on Track 12 Maybe here:
http://www.digstation.com/AlbumDetails.aspx?albumID=ALB000021337
http://www.target.com/Friends-Like-These-Vezinho-Ward/dp/B001D4CD7K

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Master Lessons for the Creative Musician by Bruce Mishkit

Every once in a while a new publication comes along that makes an important and lasting contribution to the art of learning and teaching saxophone. Bruce Mishkit’s Master Lessons for the Creative Musician is just one of those books. Warner Bros. Publications originally published this book and cd in 1994, as Sax/Flute Lessons with the Greats. This same book has now been updated and released by Mishkit’s own Deva Productions.

The 94 pages of text and music highlight the music, careers and practice habits of six major influences in modern woodwind playing. Ernie Watts, Lenny Pickett, Hubert Laws, Paquito D’Rivera, Dave Liebman and Joe Lovano all lend exercises to facilitate the development of technique and sound production.

The section contributed by Ernie Watts by itself offers a plethora of ideas to be practiced over a significant period of time. The book would be worth its price of $24.95 just with the Ernie Watts portion alone.

Lenny Pickett’s etude offers some extended techniques to work on such as circular breathing, altissimo development, alternate fingerings and multiphonics. For those familiar with Michael Brecker’s Delta City Blues, this etude is similar in style.

Hubert Laws spends a fair amount of time demonstrating the development of tone quality on the flute – a necessary step for any flautist. The exercises themselves are as old as the instrument itself and are used in many flute studios in various forms. They appear to be variations from Taffanel and Gaubert and Moyse – great stuff for dedicated flautists or woodwind players. It is a remarkable asset to hear Hubert Laws playing through these exercises in their entirety.

Paquito D’Rivera, in his own entertaining and profound way offers his own insight into better understanding several styles of Latin and jazz music. His demonstrations on saxophone and clarinet have been carefully transcribed for inclusion here. They work very well as etudes for the more advanced student.

David Liebman shares some valuable octave and overtone exercises that any advancing saxophonist should study seriously. His concept of “prehearing” offers enlightenment with regard to finding different partials in the overtone series.

During the course of this cd and text, each master player shares his own concept and some of how they approach the instrument. Joe Lovano here demonstrates staying within a certain range of the tenor sax while playing over four examples. The examples are based on the same series of chord changes in C Major on the horn. The exercises address creativity issues and certainly beckon players to think on a higher level.

Bruce Mishkit follows the six master players with his own chord and scale syllabus as well as his own final solo example. These final pages in the book offer an excellent resource for help understanding jazz theory and harmony as it relates to improvisation.

Kudos to Bruce Mishkit and Deva Studios for re-releasing this great resource. You can find more information at devaproductions.com

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The Saxophone Survival Guide & Old Sax Nu Soul by Eric Daniel

The Saxophone Survival Guide and Old Sax Nu Soul by Eric Daniel

The Saxophone Survival Guide is a comprehensive look at the world of saxophone for those who aspire to enter into it. Eric Daniel who has attended Berklee College of Music and New England Conservatory offers up his look at the world of saxophone.

This survival guide outlines several strategies and tips for aspiring saxophonists such as setting goals, general preparation, doubling, finding work and keeping a good attitude. The text is easy to read and Daniel’s writing style is upbeat and encouraging. The book is well organized however it is absent of written musical examples. Perhaps a future edition will contain those as well.

The Saxophone Survival Guide also offers some excellent recommended resources in the back of the text. Using these resources like The Art of Saxophone Playing by Larry Teal, coupled with Daniel’s text will give any young player the information they crave. This valuable information is not often covered during the course of a weekly saxophone lesson.

You can find out more about Eric Daniel and how to order his materials at www.saxman.it

Old Sax Nu Soul – Eric Daniel & Friends

Eric Daniel’s creative release Old Sax Nu Soul offers some fresh and funky tracks featuring this longtime saxman’s hypnotic saxophone sound. Daniel, who attended Berklee College of Music some 30 years ago, has performed with Natalie Cole, Paul Young, Randy Crawford and many others as well. Nowhere he now resides in Italy where he plays, performs and teaches saxophone and woodwinds.

Old Sax Nu Soul is Eric Daniel’s inaugural release, despite a long tenure in the music business. The cd contains 16 funky, yet minimal tracks that provide a bed for Eric Daniel and Friends to improvise. Eric plays soprano, alto and tenor saxophone as well as flute on this QuartoMiglio QualityMusic release.

Eric’s playing and sound are charming at times. The lack of complex form and structure leaves plenty of room for blowing, however it seems as though more melodic and harmonic components are conspicuously missing from the some tunes. That being said, when I first listened to Minimal (This is Eric) and read the liner notes I began to understand the music of Eric Daniel a little better. The titled explains his vibe succinctly and completely. Eric is a minimalist. His tunes lay down a groove where he is free to express himself. Minimal. Free. Eric. I get it.

The opening track Talkin About Midnight features Eric on a silky and smooth-sounding alto sax. Here, as throughout the cd, the tracks are built around a funky background, which lays the groundwork for his improvisational saxophone work. The tune lingers in a decidedly mellow state and ends with the reverberating “hello…”

The second track, I Wanna See You Dance starts off with Daniel on flute and Mike Applebaum on trumpet. The tremolo-rich bass sound gives it a unique flavor, although a bit unexpected. Vocalist Orlando Johnson takes the lead through most of this song with Eric Daniel filling the cracks with some gritty flute and Applebaum’s trumpet.

Central begins with another funky bass and drum groove as a bed for Daniel’s improvisations – this time on soprano sax. Maurizio Filardo shares some sparse guitar playing and Carlos Sarmiento some keyboard pads as Eric Daniel’s works his soprano into an avante-guardesque frenzy.

Da Loot is yet again a forum for Daniel’s soprano and tenor improvisations only briefly interrupted by a quote of the vocal melody. Dr Feel-x’s deep and sultry voice invokes shades of Isaac Hayes on The Ghetto. Eric Daniel stretches on alto this time.

Tenor sax is Eric Daniel’s voice of choice on Jesus Said. The spiritual anthem showcases some musical banter between Daniel’s tenor Johnson’s vocals and Bruno Marinucci’s guitar.

African influenced Deeper enlists the aid of percussionist Jack Tama behind Dr. Fell-x’s deep and deeper vocal recitation. For the first time on this cd, Old Sax Nu Soul, outlines a more contemporary pop aesthetic. However there is no shortage of improvised alto from Eric Daniel on this tune. The background vocals and lead vocals by Jenny B and Karen Smith give this tune a bit of needed structure that seemed absent from the previous tracks.

Ooh Baby features Daniel on flute and Alex Britti on guitar. It’s another jam for the ensemble without any rough edges. Eric Daniel moves back to his main voice, alto sax for Walkin on Moonlight. Art of Sax (Never Gonna Stop) and Gotham City feature his improvised tenor saxophone.

Jazz Rhythm has Eric quoting I Remember You over a James Brown influenced groove. Acul on vocals helps create the hint of J.B. whether intentional or not. This song seems to have a bit more forward momentum than many of the other compositions here, particularly when it launches into Carlos Sarmiento’s keyboard solo. Lastly, Daniel conjures up soundscapes of Maceo Parker – again maybe intentional and maybe not.

The Flow hosts an infectious groove for Eric Daniel’s soprano. Here and elsewhere I am reminded of Bill Evan’s soprano playing with Miles Davis’ electric band of the 80s. The last track on the recording entitled People lists Eric Daniels as playing tenor on this one. It does sound like an alto to me but possibly could be a tenor in the upper register – whatever the case Daniels has a unique and expressive approach to all the saxophones here on Old Sax Nu Soul.

If you are seeking another cookie-cutter smooth jazz cd, this recording is definitely not what you are looking for. On the other hand, if you are a fan of creative, risk-taking improvised groove music with a message, Old Sax Nu Soul is for you!

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The Romanian-American Jazz Suite
by Sam Newsom & Lucian Ban Ensemble

American saxophonist Sam Newsome and Romanian pianist Lucian Ban have just released The Romanian-American Jazz Suite. As indicated in the press release from The Romanian Cultural Institute, “The CD presents a multi-movement work…which combines Romanian folk music with American jazz.

Transilvanian Dance begins with the melodic statement and guitar solo followed by some improvisational interplay between soprano and baritone saxophone. Lucian Ban’s soprano soars above Alex Harding’s gutsy baritone as the two poke and prod each other into a musical frenzy before the final statement.

Pianist Lucian Ban embarks on a tender and pensive journey on Carol. Newsome and Harding respond respectively on soprano saxophone and bass clarinet. The duo or Newsome and Harding exhibit a beautiful musical sense between them. The remainder of the tune is just gorgeous with bassist Arthur Balogh, drummer Lillard Dyson and guitarist Sorin Romanescu completing the ensemble. I truly love this tune.

Balogh and Dyson set up Danube Stroll with a decidedly Afro-Cuban flare, albeit defiant of true category. Romanescu solos first followed by Newsome on some impressive soprano playing. Newsome has a wonderful command and voice on soprano saxophone – definitely in the Liebman tradition.

The fourth cut on the cd, Home is easy to overlook due to its understated nature. The tune again predominantly features Ban and Newsome in a duo.

Prelude immediately follows the understated Home once again with Harding on baritone and the full ensemble behind Newsome’s waning soprano.

A decidedly different-sounding Colinda jumps off from the start with Romanescu and Harding trading statements on guitar and baritone. About a minute into Colinda the composition takes a turn from a funky, baritone punctuated piece to a more flowing jazz-rock groove. The contrast initially seems odd, however it comes full circle at the end. Harding has the last word, barking out the final phrase with Romanescu’s guitar underneath.

Bucharest Part I and Part II composed by Sam Newsome have heavier ethnic influences to my ears. The d harmonic minor tonality sets the stage for the ethnic sound. Oddly enough the traditional Romanian folk songs sound more “Americanized” and this composition by Newsome more exotic. Newsome takes time on both Part I and Part II to demonstrate some extended teqnicues on soprano such as the use of multiphonics. Dyson lends a nice bit of drumming during the vamp on Part II as well.

The cd ends with another feature composed by and performed by Ban and Newsome. Where is Home? Seems a fitting ending to this Romanian-American journey.

So in the end, what you have here on The Romanian-American Jazz Suite is some well thought out, well executed American jazz music. The Romanian influence is apparent after understanding the intent of Ban and Newsome. What is more at the forefront is some beautiful jazz playing by a very capable ensemble – whether from America, Romania or anywhere in between.

You can find out more about the Romanian Cultural Institute at www.icrny.org
CD distribution is handled by North Country Distributors www.cadencebuilding.com and Jazzaway Records www.jazzaway.com

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The Chill Factor and Liquid Horn - Jenny Hill

The Chill Factor is the third solo release by tenor saxophonist Jenny Hill. This longtime New York-based saxophonist has coined a unique sound for herself and her band on this newest release from Park West Studios of Brooklyn, New York.

The opening track entitled Beautiful Madness features the classic sound of tenor and trombone in a traditional jazz setting. The addition of vibraphone to this piano-less quartet further delineates this quintet from many others playing similar forms of straight-ahead jazz. Hill’s tenor sound is full, bright and still robust here. She also shows she has formidable command of the instrument – just as I remember from our days together at Berklee in the early 80s.

The samba Ocean Mist showcases Jenny’s talent on flute as well as Curtis Fowlkes hearty trombone sound. Passion Dance begins with a quasi-New Orleansesque groove (Is that a real term or did I make that up?) with Hill and Fowlkes on tenor and trombone respectively. Ms. Hill then launches into a tenor solo that tests the ears of the ensemble and beckons to their collective creativity. Her sound is complex and full of influence. I hear Trane, Klemmer, Felder, Brecker, Rollins, Vadala - bunches of influences. With so many perceived influences projected by this listener it is likely that I’m just hearing JENNY HILL the saxophonist.

Regrets Only showcases Jenny Hill as balladeer. David Ambrosio’s bass, Stefan Bauer’s vibraphone and Todd Isler’s brushwork set up the perfect mood and background for this more tender moment on The Chill Factor.

Following my captivation with Regrets Only I did let most of The Seventh Nerve play on before I rewound itunes to see what I had missed. It’s a nice, relaxed tune but one that I easily overlooked upon the first listening. Hill’s soprano playing is impressive. The soprano can be a weapon in the wrong hands and Jenny Hill handles it very well with great skill.

All songs on The Chill Factor are composed by Jenny Hill with the exception of Passion Dance and Davis’ Nardis. The sound of the sax and vibes is somewhat reminiscent of the sound of the Gary Burton Band when augmented by Jim Odgren around 1980. The ECM sound may have been the goal or just a byproduct of past influence. Whatever the case – I like it!

Monkeys of Kilimanjaro is a playful number where Hill stretches a bit on flute. The pulsating rhythms originating from John DiMartino on piano, Oswaldo Amorim on bass and Isler on drums propel soloists on flute and trombone.

Elephant Boogie Mania – what can I say? It sounds like James Brown meets New Orleans Jazz with a little blues thrown in. This sounds like a fun tune to blow on in the horn friendly key of F! Where’s the tenor solo Jen?? :-)

Your Last Breath is likely one of the most unique, yet musical numbers offered here by Hill and company. The sound of soprano sax, trombone and vibes is unusual to my ears but works quite well. This combination of soprano, trombone and acoustic bass is handled very well in this setting where pitch could be an issue. Fowlkes and Hill and Jerome Harris are to be commended for their musicality and sense of pitch.

I found this cd to be quite enjoyable. The ensemble works together like a band that has performed together beyond the four walls of the studio. They share a sensitivity that comes across clearly on the recording and invites the listener to be part of the experience. Thanks to Jenny Hill for releasing this beautiful collection of jazz saxophone music. 

You can find out more about Jenny Hill at www.JennyHillJazz.com

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Marsha Heydt - One Night

Marsha Heydt has been living and working around New York City for the past two decades. Following her tenure at The University of the Arts in Philadelphia and a brief stint in Los Angeles, Heydt settled in New York. She has now released her first Cd One Night on Blue Toucan Music.

One Night features Marsha Heydt and her ensemble on 13 tracks, many of which have a decidedly Latin and Brazilian flavor. Heydt is featured on alto and soprano saxophones as well as flute. The core rhythm section showcases Norman Pors on piano, Marc Schmied on Bass Vito Lesczak on drums. Sheryl Bailey offers some tasteful guitar soloing on several tracks and Marlon Simon offers his special Latin Percussion on nearly all the tracks.

The first cut sets the mood with the driving Afro-Cuban rhythms from Simon on congas and timbales. Todd Schwartz takes the first solo on trumpet, again giving the tune an authentic jazz/salsa flavor.

Throughout the Cd the most striking feature to this listener is the addition of strings to the standard jazz ensemble. Although many jazz artists - starting with Charlie Parker – have added string arrangements to jazz standards it remains a fresh sound. Here it is not overdone but a perfect compliment to Heydt’s flute.

Marsha Heydt takes some risks on this Cd as well. The treatment of You Don’t Know What Love Is is unusual. The psychedelic/smooth jazz with strings version of this often-called standard hosts an abundance of influences. I can hear shades of Hendrix, Parker with Strings, Hal Galper and of course Marsha Heydt!

One of the Cd’s most endearing moments comes at the hands of vocalist Carla Cook. I Want You to Know features a beautiful string arrangement behind Heydt’s soprano saxophone and Cook’s vocal. Cellist Erik Friedlander also enjoys some nice interplay with Heydt’s flute on The Love Theme from Spartacus.

The best surprise comes at the end of this first Cd by Marsha Heydt. The final cut Afrikaan shows a side of the Heydt and the ensemble not heard previously on One Night. The infectious montuno played by Pors and underscored by the entire rhythm section is the perfect balance to Heydt’s flute and Schmied’s bass. This is my favorite tune on the album.

You can find out more about Marsha Heydt at www.marshaheydt.net and www.bluetoucanmusic.com

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Denis DiBlasio / Brian Betz Project – Two CD Collection

2/24/08

Denis DiBlasio and Brian Betz have recently released their self-titled CD on Dreambox Media. The two CD set features DiBlasio and Betz in two separate, yet complimentary settings. CD one features twelve duos by the pair on baritone sax and guitar respectively. CD two captured the live quintet at Chris’ Jazz Café of Philadelphia in May of 2007. The duo is joined by Gerry DeLoach on tenor sax, Steve Varner on bass and Jim Miller on drums.

When I first opened this two disk I chose to listen to the live cuts first. Having been very familiar with DiBlasio’s baritone saxophone playing I was yet very curious to hear DeLoach and DiBlasio side by side. Needless to say, DeLoach and Diblasio’s interplay is consistent and hard-bopping at all times. The rhythm section of Betz, Varner and Miller hold firm on a series of blistering tempos – not for the meek.

What Is This Thing Called Love is likely the most telling track of this whole CD. Denis DiBlasio and Gerry DeLoach bob hard and fast in a fury of notes climaxing in an old-school tenor (albeit tenor and baritone) battle of years gone by. DeLoach’s haunting and pensive ballad Where To Now?  remains the only departure from some textbook bebop playing demonstrated by all at Chris’ Jazz Café that evening.

Having witnessed more music-per-pound on disk two than I bargained for, my ears were ready for a ballad. I was not disappointed by DiBlasio and Betz on the first, duo disk either. Although it is unwise to compare studio and live recordings, here it is striking to note the different approach between quintet and duo. Betz’ guitar provides the perfect orchestration for this less-familiar side of DiBlasio. When he bops hard on the baritone there is great resonance and edge to his sound. DiBlasio’s baritone sax here is mellow and tender. Shades of Mulligan creep in here and there until he barks out a low note or two reminding the listener that he can go into overdrive at anytime. The more-familiar sound of flute and guitar are highlighted on two separate takes of Yes In Deedy, dedicated to Philadelphian Harrison Ridley, Jr. Lastly, what guitar and flute duo would be complete without a Jobim tune? The duo plays a noteworthy tribute to Antonio Carlos Jobim on No More Blues.

Denis DiBlasio has long been known for his hard-edged baritone, scat vocals and solo flute demonstrations on the college circuit. He is a mainstay in music education in New Jersey and across the US. It is a pleasure to hear him side-by-side with colleagues and former students - laying it down!

Skip Spratt
SaxShed.com

Tipbook – The Complete Guide for Saxophone
By Hugo Pinksterboer

2/24/08

The Tipbook Company and Hal Leonard Publishing have released several comprehensive resources for the modern musician. Tipbook Saxophone by Hugo Pinksterboer labels itself, “The best guide to your instrument!” It certainly is a valuable resource, particularly for the student looking for common information that cannot wait until the next saxophone lesson.

At a glance, Tipbook Saxophone looks well laid out, attractive and comprehensive with 222 pages. Upon closer inspection, I found the book to be filled with hundreds of helpful tips (no pun intended) and bits of information. Fingering charts, pictures and diagrams of the instrument and parts make this an easy to understand text.

One cool feature for those who enjoy the internet is the interactive component to this Tipbook series. Within the book (and further outlined on p. 176) there are “tipcodes” for further information. Videos, animations and diagrams can be accessed at tipcode.com by entering the supplied code.

After reading through much of this 3rd edition of Tipbook Saxophone, I was amazed by the cross-section of information covered within this one book. There is even a note in the forward asking, “Anything missing?” A link to contact them is provided to report anything they have missed. Despite the wealth of information included here, breathing, diaphragm, breath support and air were tough to find. A search through the glossary and index provided no results either. I did use the link and sent an email asking if I had overlooked this information within the book. If it is not included here you can be sure to find it in the next edition. Congratulations to The Tipbook Company for working to constantly improve their products.

So in the end, if you are looking to find out more about anything saxophone, Tipbook Saxophone is a GREAT place to start. This resource, along with a good private instructor should help any player further their knowledge of the instrument and its intimate workings.

Skip Spratt
SaxShed.com

Mark Hollingsworth - Chasing the Sun

Chicago native, Berklee graduate and Los Angeles-based saxophonist Mark Hollingsworth has released his newest Cd Chasing the Sun on his own Windshore label. This newest offering features 14 selections of various styles yet all have close ties to Contemporary and Smooth Jazz.

First of all I must say that I have known Mark Hollingsworth since our days together at Berklee College of Music in Boston. He and I started on the same path some 25 years ago. His journey took him to L.A. and mine to Atlantic City and Philadelphia. We have stayed in touch these many years and even reunited while he was on tour with Tom Jones in Atlantic City. It is a pleasure to hear him continuing to offer new music on this Cd, Chasing the Sun.

The opening track Spirit of Adventure begins with a deceptive world music feel set up by the introduction. It quickly morphs into a furious tenor sax and bass riff reminiscent of both Weather Report and Steps Ahead. Just as the listener thinks he has an idea where things are headed the tune shifts one more time into what is a more traditional-sounding Smooth Jazz groove. Hollingsworth has you guessing right from the beginning on this musical journey.

It appears this kind of musical schizophrenia is by design according to Hollingsworth himself. In the liner notes he writes, “Chasing the Sun is an adventure embracing the spirit of exploration…There will be things familiar, but perhaps with a twist…”

As the Cd continues with Open Throttle, Hollingsworth and band mates stretch out a bit on the bluesy romp featuring tenor and guitar solos backed by some slick horn parts. It is clear on this cut that Mark has listened to a few Tom Scott records over the years.

Although the first two tracks are well done and representative of Hollingsworth’s talents, the Cd really hits its stride with tracks 3, 4 and 5. Tropic Breeze is a beautiful, flowing tune that should bring a smile to your face. This is a wonderful example of Hollingsworth’s tenor playing and even more so his compositional skills. The overdubbed woodwinds add a nice touch among this pretty straightforward foot tapper. Very nice job Mr. Hollingsworth.

Spice of Life breaks out right into some New Orleans style funk and I can only imagine the title refers to the spicy Creole and Cajun cooking New Orleans is most famous. The tune always hints at the original feel set up in the intro but cascades into a more contemporary jazz funk at times. Hollingsworth has the last word on this one as he shows off his R & B chops on the ending vamp.

Doing My Own Thing features Hollingsworth all by himself on the alto, tenor and baritone saxophones. The playing is funky, percussive and tight. This is definitely one for the sax players out there.

The title cut once again shows off the compositional talents of Mark Hollingsworth. As a saxophonist I can appreciate Mark’s tone. As a layperson I can just enjoy the music. This is definitely one of the album’s highlights for me.

Higher Plane, High Velocity, Crawfish Pie and Sambarosa coaxes us through the middle of our Cd journey. At every turn in the road the ensemble provides a solid foundation for Hollingsworth’s saxophones and woodwinds. Crawfish Pie brings out a bit of the New Orleans again. Hollingsworth shows he has formidable clarinet skills on this one. I wish he had let us in on that secret before track 10! Flute takes the lead on Sambarosa and Mark shows he is a wonderful flautist in addition to playing saxophone and clarinet.

The journey nears the end with the world music influenced Stowaway, sensuous bass and sax duo Undercurrents andAfro-Cubin tinged Darwin’s Voyage. It’s worth mentioning that Mark Hollingsworth breaks out the soprano as the lead voice only for this last tune.

All in all there is A LOT of music to digest on this Cd. By Hollingsworth’s own admission, he has programmed an album that may be difficult to categorize. Despite it’s musical schizophrenia Chasing the Sun rises to the occasion. There is something for everyone – and particularly those who are fond of top-notch saxophone and woodwind playing.

With over 70 minutes of music and 14 tracks there is something for everyone on Mark Hollingsworth’s Chasing the Sun. You can find out more about Mark and order this Cd by visiting markhollingsworth.com

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Michael Pedicin Quintet - Everything Starts Now

Veteran saxophonist Michael Pedicin has released his newest offering on The Jazz Hut label, Everything Starts Now. Pedicin has had multiple releases under his own name and has enjoyed associations with Dave Brubeck and Maynard Fergusson over the years. The acoustic quintet here documented 10 tunes for this straight-ahead album rooted in the traditional sounds of classic Blue Note, Prestige and ECM recordings.

The very capable quartet backing Pedicin features fellow Philadelphians Chris Colangelo on acoustic bass and Mick Rossi on piano. Michael Sarin on drums and composer/guitarist Johnnie Valentino round out the ensemble. I’ve had the pleasure of working with Mike Pedicin, Mick Rossi and Chris Colangelo when they all lived and worked in Atlantic City. They are among the finest musicians I’ve had the pleasure to work with and it is a pleasure to listen to them play together after a separation of many years.

The opening track, Pelican beckons the listener with a subdued start reminiscent of that popular ECM sound of the 70s and early 80s. Pedicin’s sound is his own but the tenor sings ala Jan Garbarek at times. Not a bad start at all to this record!

This Way Out, the second track on the Cd begins with some nice interplay in the quintet let by Pedicin and Valentino. Colangelo’s bass sound is a big as a house. Chris always has had a great sound on both electric and acoustic bass. The Latin groove builds with Mike Pedicin taking the first chorus, followed by Colangelo on bass. It’s refreshing to hear the bass solo mid-tune, rather than after everyone else has had his turn. Rossi then takes his turn with a sparse, punctuated solo exemplifying his ability to think and play out of the box. The final statement in this piece breaks down into a free-sounding exchange between all but the bass.

L.A. to Philly begins with Colangelo’s bass, again big as a house. The melody swings along with brief melodic tantrums inserted by the unison tenor and guitar line. The solos are more adventurous here. The quintet weaves in and out from the traditional to the almost avant-guard. This is not a “free” recording however the sensibilities of the ensemble seem to lean this way at times. As in This Way Out, the ensemble picks and prods each other to push the boundaries on the final vamp – This time Colangelo joins in.

The anthem One of Us, the only non-Valentino compositionbrings one of the sweetest and calming moments on Everything Starts Now. Mick Rossi shows a much more lyrical side here.

Track 5 entitled Contours takes off with a militant snare and bass drum duo followed by the tenor and guitar statement. Valentino, Rossi and Pedicin follow suit with solos. After the Rainbow is Over showcases Rossi’s formidable talents with his piano interlude. The contrapuntal interlude blooms into the final statement by the ensemble. The ending vamp here concludes with the ensemble coaxing each other out of the harmonic comfort zone.

Concatenation is a playful Monkish head followed by the tender and pensive ballad Another Day.

Everything Starts Now offers its last surge of energy on the angry swinger Later. PianistRossi and drummer Michael Sarin shine toward the end as the musical sparring session turns to drum solo. The haunting title cut leaves the listener with Pedicin’s waning tenor sound ringing last. A very fitting end to this musical journey entitled Everything Starts Now.

It’s interesting to note the influences in Michael Pedicin’s tenor playing throughout this recording. Mike is a veteran. He’s not a newcomer. At times I hear shades of Sonny, Jan, and the whole post-Coltrane thing. There are times when his tone seems closer to Lovano’s than the previous mentioned influences. What is certain is those years of listening, playing and absorbing the jazz culture has seen Mike transform into and artist with many influences and complex musical sides.

You can find out more about Michael Pedicin and his recordings at www.michaelpedicin.com

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Anibal Rojas - ah-knee-ball

A mutual friend introduced me to the music of Anibal Rojas (ah-knee-ball) some months ago. He has a stunning clip of Body and Soul on Youtube. I remember wondering what he was up to now after checking out that performance clip. He’s up to plenty!

Rojas’ self-titled release features his pure tenor sound, world percussion and ethnic flutes. It would be hard to deny the huge influence Michael Brecker has had on this younger player. Despite the obvious Brecker influence, Anibal has created enticing tracks on this Cd, which are a perfect bed for his wonderful tenor sound. The influences are there however he does have his own twist on this popular school of playing – one close to my own heart.

The native Chilean turned Philadelphian - by way of Middle America - has a unique sensibility as evidenced in the opening track Los Andes, Part 1. His tenor soars over the percolating drums and percussion almost to the final cadence where the sound of ethnic flutes finishes the statement.

The second Cd track Tano’s Tuto, written for his son, showcases a mellower yet still driving side of Rojas’ tenor playing. About two minutes into the track the song takes a refreshing twist with Latin percussion break and bass solo interlude. Then it’s back to business as usual on this free flowing but unassuming melody. I was a little surprised by the distorted guitar solo toward the end of this recording. The element of surprise is something Anibal Rojas uses to his advantage throughout this record. In the end it works.

Le Montrose is full of surprises right from the beginning. The exotic sounds in the intro lead the listener to believe we’re in for something completely different than what follows – a funky smooth jazz jam. I found myself rocking in my chair while tapping my foot to this one – really just a great groove for Anibal to blow over. Just when I forgot the deceptive introduction the exotic world music sounds return briefly before the funky smooth jazz returns. There may be two different tunes going on here. I like them both.

I Carry You Heart, written for his wife, is a tender, contemporary ballad. It moves along rather as one might expect with the exception of some lyrical flutes and voices behind Rojas’ lush tenor sound. Anibal Rojas can burn on the tenor but here he lets his sound speak more than his technique.

Walking, Stellaluna and the more traditional Latin Live Crickets provide the listener with a more comprehensive look and listen to Anibal Rojas musicianship.

As the liner notes indicate, Rojas is a family man. He has penned songs for several family members on this release under his own name. Lay Down is dedicated to his mother. He writes, “A song about peace for my mother.” The song is hypnotizing with the sounds of quenas, quenacho, ocarina and acoustic guitar.

Just when you think you have a pretty good idea of what Anibal Rojas has up his musical sleeve he surprises you once again with The Midnight Zone. The sound of the EWI teases with shades of Brecker – how can it not? Rojas shows he has command of this instrument as well.

The final track Los Andes, Part 2 really sums up the experiences on this musical journey entitled ah-knee-ball. Now we can hear another voice from Rojas, this time the soprano sax. 

Lastly, Anibal pays homage to likely his biggest influence, Michael Brecker on the bonus track Missing Brecker. The piano and tenor duo features Barry Sames underscoring Rojas’ mournful subtone. There are Mikisms (is that a word?) sprinkled throughout and a fitting tribute to the legendary tenor man now gone.

Anibal Rojas has put together a world class, world music influenced Cd with ah-knee-ball. He clearly demonstrates that he has many diverse voices all within this one musician’s soul.

You can find out more about Anibal Rojas and his recordings at anibalrojas.com

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Frank Macchia – Three new Cds

Multi-instrumentalist and master of self-promotion, Frank Macchia has been very busy. Since moving to L.A. 16 years ago, Macchia has been weaving his way into the inner fabric of the Los Angeles music scene. The San Francisco native and Berklee graduate has been busy in the studios, writing and arranging for feature films such as Superman Returns, The Fantastic Four, Austin Powers:Goldmember, Santa Clause 2, and television shows Nickelodeon's Oh Yeah Cartoons, Disney's Oliver Twist, and the Tonight Show.

An adept composer and instrumentalist, Frank Macchia has penned compositions on at least 3 stellar releases. Animals, Mo Animals, and Emotions all feature Macchia alongside some of the biggest names in the business. Guitarist Grant Geissman, Drummer Vinnie Colaiuta and trumpet phenom Wayne Bergeron all add significant contributions to Macchia’s compositions. The writing is dense and intellectual at times but always accessible.

Animals begins with the soothing Dolphins followed by the funky Kangaroos. This is a great feature for trombone master Bruce Fowler. The Cd features soundscapes conjuring up images of Tigers, Gorillas, Jaguars, Camels Hippos, Snakes, Alligators and Vultures. This Cd is full of thought-provoking music that simply grooves!

The final track, Lone Wolf,  features Franck Macchia on tenor sax however his real voice is in the writing and playing behind the tenor. Macchia accompanies himself on Piccolo, Flute, Wood Flute, Alto Flute, Bass Flute, Clarinet, Alto Clarinet, Bass Clarinet, Contra Bass Clarinet, Soprano Sax, Baritone Sax and Ethnic Flutes – that’s a mouthful!

Mo’ Animals features many of the same very capable instrumentalists as Animals. The opening tune, Hummingbirds is a playful yet aggressive samba featuring Billy Childs on piano, Howard Levy on harmonica and Frank on saxophone. The background writing behind Childs’ piano adds the perfect compliment to the lively solo.

Monkeys takes off with an infectious Afro-Cuban groove which sets the stage for the ethnic infused sound of the saxophone and Synth Accordion – definitely an acquired taste.

There is a fair amount of humor injected into this offering from Frank Macchia. You can’t listen to Pigs without a smile coming to your face. I even found myself laughing out loud at the sub-base sounds of contrabass clarinet and bass trombone. It truly is the strangest sound, especially when treated as a solo instrument – strange, yet cool all the same.

Frank Macchia possesses the ability to think out of the box. His ability to write and score for this band of misfit instruments allows his creativity and passion for his music to rise above the mundane. As odd sounding as Pigs may be to some ears, Bats is just gorgeous. The woodwind harmonies are very dense but recorded in a balance that once again compliments the intriguing writing here.

The sounds of Frogs, Whales, Elephants, Chickens, Rhinos and Lions all come to life with the rest of these quirky and sophisticated compositions by Frank Macchia. Each tune truly captures the essence of the named animal in the composition. This is a talent Macchia has often channeled for television and film and is quite apparent here as well