ÿþ<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html> <head> <title>Jazz and Beyond - the Number One Australian music e-zine. News, gig guides, reviews, interviews.</title> <meta name="description" content="Jazz and Beyond - Gateway to Australian Jazz and Blues. Gig Guide, Performers List, Interviews, CD reviews."> <meta name="keywords" content="Jazz, blues, funk, world music, gig, festival, Sydney, music, Sydney jazz, musician, performance, Australian musician, Australian jazz,live music, venue, jazz music, sydney gigs, gig guide"> <meta name="robots" content="index,follow"> <meta name="Abstract" content="All about Australian Jazz and Blues: Gig Guide, CD reviews, Performers Profiles, Interviews, Festivals, Radio Guide and more."> <meta name="Author" content="Jazz and Beyond"> <meta name="copyright" content="Jazz and Beyond"> <meta name="website" content="Jazz and Beyond"> <meta http-equiv="Content-Style-Type" content="text/css"> <meta http-equiv="Content-type" content="text/html;charset=ISO-8859-1"> <LINK REL="StyleSheet" HREF="jnb.css" type="text/css"> </head> <body bgcolor="#ffffff" background="bitmaps/bg_1.gif" link="#0055cc" alink="#ff0000" vlink="#990099" text="#000000" topmargin="0" leftmargin="0" rightmargin="0" bottommargin="0" marginwidth="0" marginheight="0"> <table width="780" cellpadding="0" cellspacing="0" align="center"> <tr> <td> <!-- 11 --> <table cellpadding="5" cellspacing="0" width="100%"> <tr> <td colspan="2" height="30" background="bitmaps/jab.jpg"> <br> <br> <br> <br> <br> <br> <table width="100%" cellspacing="0" cellpadding="0"> <tr> <td> <b class="menu"><a href="index.html" class="menu">Home</a>&nbsp;<b>·</b> <a href="bestgigs.html" class="menu"> Artist of the Month</a>&nbsp;<b>·</b> <a href="festival.html" class="menu">Events &amp; Festivals</a> &nbsp;<b>·</b> <a href="cdreview.html" class="menu">Reviews</a>&nbsp;<b>·</b> <a href="interview.html" class="menu">Interviews</a>&nbsp;<b>·</b> <a href="radio.html" class="menu">Radio Guide</a> </b> <br> <b class="menu"> <a href="news.html"class="menu"><font color="yellow">Jazz News</a></font>&nbsp;<b>&middot;</b> <a href="artists.html" class="menu">Musicians</a>&nbsp;<b>·</b> <a href="ozlatest.html" class="menu">OzLatest</a>&nbsp;<b>&middot;</b> <a href="contact.html" class="menu"><font color="white">Contact Us</a>&nbsp;<b>·</b> <a href="testim.html" class="menu"><font color="white">Your say</a>&nbsp;<b>·</b> <a href="artjazz.html" class="menu"><font color="white">Jazz Art</a>&nbsp;<b>·</b> <a href="disclaimer.html"class="menu">Disclaimer</a>&nbsp;<b>&middot;</b> <a href="links.html" class="menu"><b>Links</a></b> </td> </td> <td align="right" class="menu" valign="top"> <b><font color="yellow">Gig Guides:&nbsp;&nbsp;&nbsp;<font color="white">Sydney&nbsp;-&nbsp;<a href="jazz_gig_guide.html" class="menu">Week I</a>&nbsp;/ <a href="sydney_gig_guide.html" class="menu">Week II</a></b><br> <b>Melbourne&nbsp;-&nbsp;<a href="notyet.html" class="menu">Week I</a>&nbsp;/ <a href="notyet.html" class="menu"> Week II</a></b> </FONT></FONT> </td> </tr> </table> </td> </tr> <tr> <td bgcolor="#800000" width="200" background="bitmaps/bg_menu.gif" valign="top"> <div style="BACKGROUND-IMAGE:url(bitmaps/sax.jpg);WIDTH:206px;HEIGHT:391px"> <!-- <A HREF="#CD"><FONT color="white"><b></FONT></A><br> --> <A HREF="#AlexMaguireCD"><FONT color="white"><b>Alex Maguire Sextet</b> - Brewed in Belgium</FONT></A><br> <A HREF="#IngridJamesCD"><FONT color="white"><b>Ingrid James & John Reeves</b> - Circumflex</FONT></A><br> <A HREF="#KeizjerMcGuinessCD"><FONT color="white"><b>Keizjer McGuiness Quintet</b> - The Seed Habit</FONT></A><br> <A HREF="#JoeAscioneCD"><FONT color="white"><b>Joe Ascione</b> - Movin Up</FONT></A><br> <A HREF="#BennyGolsonCD"><FONT color="white"><b>Benny Golson</b> - New Time, New  Tet</FONT></A><br> <A HREF="#HoraceSilverCD1"><FONT color="white"><b>Horace Silver</b> - Live At Newport  58</FONT></A><br> <A HREF="#TheFantasticTerrificMunkleCD"><FONT color="white"><b>The Fantastic Terrific Munkle</b> - Music to Dance to</FONT></A><br> <A HREF="#TheBruceCaleQuartetCD"><FONT color="white"><b>The Bruce Cale Quartet</b> - The Sydney Concert - On Fire</FONT></A><br> <A HREF="#DaleBarlowCD"><FONT color="white"><b>Dale Barlow</b> - Treat Me Gently</FONT></A><br> <A HREF="#DarrenHeinrichTrioCD"><FONT color="white"><b>Darren Heinrich</b> - New Vintage Tunes for the Hammond Organ</FONT></A><br> <A HREF="#ConvergingPathsCD"><FONT color="white"><b>Phil Treloar & Hamish Stuart</b> - Converging Paths Shades of There</FONT></A><br> <A HREF="#BozScaggsCD"><FONT color="white"><b>Boz Scaggs</b> - Speak Low</FONT></A><br> <A HREF="#JohnPizzarelli1CD"><FONT color="white"><b>John Pizzarelli</b> - With A Song in My Heart</FONT></A><br> <A HREF="#WarrenVacheCD"><FONT color="white"><b>The Warren Vache-John Allred Quintet Live</b> - Jubilation</FONT></A><br> <A HREF="#JudyCarmichael1CD"><FONT color="white"><b>Judy Carmichael</b> - Come and Get It</FONT></A><br> <A HREF="#CharlieParkerBirdCD"><FONT color="white"><b>Charlie Parker Bird</b> - The Complete Charlie Parker on Verve</FONT></A><br> <A HREF="#GregCoffinTrioCD"><FONT color="white"><b>Greg Coffin Trio</b> - It s Neither Either or. It s Both And</FONT></A><br> <A HREF="#JonathanZwartzCD"><FONT color="white"><b>Jonathan Zwartz</b> - The Sea</FONT></A><br> <A HREF="#BradMehldau"><FONT color="white"><b>Mehldau meltsdown the Basement</b> 12/03/2009</b></FONT></A><br> <A HREF="#JohnnyVarroCD"><FONT color="white"><b>Johnny Varro Swing 7</b> - Ring Dem Bells</FONT></A><br> <A HREF="#MargieLouDyerCD"><FONT color="white"><b>Margie Lou Dyer and Allan Browne</b> - Allfrey Street</FONT></A><br> <A HREF="#KatieNoonanCD"><FONT color="white"><b>Katie Noonan</b> - Blackbird</FONT></A><br> <A HREF="#CharlieParkerCD"><FONT color="white"><b>Charlie Parker</b> - Bird in Time 1940-1947</FONT></A><br> <A HREF="#JennyScheinmanCD"><FONT color="white"><b>Jenny Scheinman</b> - Crossing the Field</FONT></A><br> <A HREF="#MichaelFeinsteinCD"><FONT color="white"><b>Michael Feinstein</b> - The Sinatra Project </FONT></A><br> <A HREF="#JohnBunchCD"><FONT color="white"><b>The John Bunch Trio</b> - Music of Irving Berlin</FONT></A><br> <A HREF="#RonCarterCD"><FONT color="white"><b>Ron Carter</b> - Jazz and Bossa</FONT></A><br> <A HREF="#JoeLovanoCD"><FONT color="white"><b>Joe Lovano with the WDR Big Band & Rundfunk Orchestra</b> - Symphonica</FONT></A><br> <A HREF="#AlcohotlicksCD"><FONT color="white"><b>The Alcohotlicks</b> - You You</FONT></A><br> <A HREF="#MichaelOcchipinti"><FONT color="white"><b>Michael Occhipinti</b> - The Sicilian Jazz Project</FONT></A><br> <A HREF="#JimGallowayCD"><FONT color="white"><b>Jim Galloway s Wee Big Band</b> - Blue Reverie</FONT></A><br> <A HREF="#PatriciaBarberCD"><FONT color="white"><b>Patricia Barber</b> - The Cole Porter Mix</FONT></A><br> <A HREF="#DonBradenCD"><FONT color="white"><b>Don Braden</b> - Gentle Storm</FONT></A><br> <A HREF="#DaveHollandCD"><FONT color="white"><b>Dave Holland Sextet</b> - Pass It On</FONT></A><br> <A HREF="#AuntyRichardCD"><FONT color="white"><b>Aunty Richard</b> - Leaf Blower</FONT></A><br> <A HREF="#SteveTurreCD"><FONT color="white"><b>Steve Turre</b> - Rainbow People</FONT></A><br> <A HREF="#DaniloPerezCD"><FONT color="white"><b>Danilo Perez and Claus Ogerman</b> - Across the Crystal Sea</FONT></A><br> <A HREF="#SopranoSummitCD"><FONT color="white"><b>The Soprano Summit in 1975 and More</b></FONT></A><br> <A HREF="#TriodaPazCD"><FONT color="white"><b>Trio da Paz and Joe Locke</b> - Live At JazzBaltica</FONT></A><br> <A HREF="#WANGARATTA2008"><FONT color="white"><b>Wangaratta Jazz Festival 2008</b></FONT></A><br> <A HREF="#StanGetzCD"><FONT color="white"><b>Stan Getz</b> - The Bossa Nova Albums</FONT></A><br> <A HREF="#WillieNelsonCD"><FONT color="white"><b>Willie Nelson & Wynton Marsalis</b> - Two Men With The Blues</FONT></A><br> <A HREF="#AaronWeinsteinCD"><FONT color="white"><b>Aaron Weinstein & John Pizzarelli</b> - Blue Too</FONT></A><br> <A HREF="#ManlyJazz2008"><FONT color="white"><b>Manly Jazz Festival 2008</b></FONT></A><br> <A HREF="#NeilsenGoughCD"><FONT color="white"><b>Neilsen Gough</b> - A Beautiful Dream</FONT></A><br> <A HREF="#ManuelMengisGruppe6CD"><FONT color="white"><b>Manuel Mengis Gruppe 6</b> - The Pond</FONT></A><br> <A HREF="#BrianBladeCD"><FONT color="white"><b>Brian Blade and The Fellowship Band</b> - Season of Changes</FONT></A><br> <A HREF="#WycliffeGordon"><FONT color="white"><b>Wycliffe Gordon</b> at Sound Lounge - 9th Oct 2008</FONT></A><br> <A HREF="#CassandraWilsonCD"><FONT color="white"><b>Cassandra Wilson</b> - Loverly</FONT></A><br> <A HREF="#JudyCarmichaelCD"><FONT color="white"><b>Judy Carmichael</b> - Southern Swing</FONT></A><br> <A HREF="#ScottRobinsonCD"><FONT color="white"><b>Scott Robinson Plays the Compositions of Thad Jones</b> - Forever Lasting</FONT></A><br> <A HREF="#AndrewRobsonTrioCD"><FONT color="white"><b>Andrew Robson Trio</b> - Radiola</FONT></A><br> <A HREF="#WallaceRoneyCD"><FONT color="white"><b>Wallace Roney</b> - Jazz</FONT></A><br> <A HREF="#HarryAllen1CD"><FONT color="white"><b>Harry Allen & Joe Cohn Quartet</b> - Stompin The Blues</FONT></A><br> <A HREF="#MontyAlexanderCD"><FONT color="white"><b>Monty Alexander</b> - The Good Life</FONT></A><br> <A HREF="#Wanderlust1CD"><FONT color="white"><b>Wanderlust</b> - When in Rome</FONT></A><br> <A HREF="#CatherineRussellCD"><FONT color="white"><b>Catherine Russell</b> - Sentimental Streak</FONT></A><br> <A HREF="#YuganautCD"><FONT color="white"><b>Yuganaut</b> - This Musicship</FONT></A><br> <A HREF="#EvanChristopherCD"><FONT color="white"><b>Evan Christopher</b> - Delta Bound</FONT></A><br> <A HREF="#DianneReevesCD"><FONT color="white"><b>Dianne Reeves</b> - When You Know</FONT></A><br> <A HREF="#SweetLowdownsCD"><FONT color="white"><b>Sweet Lowdowns</b> - Cuttin Capers</FONT></A><br> <A HREF="#BlaineWhittakerCD"><FONT color="white"><b>Blaine Whittaker</b> - Sound Barrier</FONT></A><br> <A HREF="#JackZorawskiCD"><FONT color="white"><b>Jack Zorawski Trio</b> - First Train</FONT></A><br> <A HREF="#DanielLevinCD"><FONT color="white"><b>Daniel Levin Quartet</b> - Blurry</FONT></A><br> <A HREF="#BuddyDeFrancoCD"><FONT color="white"><b>Buddy DeFranco</b> - Charlie Cat 2 </FONT></A><br> <A HREF="#JacksonCD"><FONT color="white"><b>Jackson & Hazeltine</b> - Sugar Hill</FONT></A><br> <A HREF="#KeithJarrettCD"><FONT color="white"><b>Keith Jarrett, Gary Peacock, Jack DeJohnette</b> - Setting Standards New York Sessions</FONT></A><br> <A HREF="#EnricoPieranunziCD"><FONT color="white"><b>Enrico Pieranunzi</b> - As Never Before</FONT></A><br> <A HREF="#ElizabethGeyerCD"><FONT color="white"><b>Elizabeth Geyer</b> - On Patrol with the Jazz Police</FONT></A><br> <A HREF="#MarcinWasilewskiCD"><FONT color="white"><b>Marcin Wasilewski Trio</b> - January</FONT></A><br> <A HREF="#PatMethenyCD"><FONT color="white"><b>Pat Metheny</b> - Day Trip</FONT></A><br> <A HREF="#JaneIrvingCD"><FONT color="white"><b>Jane Irving</b> - Beams</FONT></A><br> <A HREF="#HowardAldenCD"><FONT color="white"><b>Howard Alden & Ken Perlowski</b> - Pow-Wow</FONT></A><br> <A HREF="#BillCharlapCD"><FONT color="white"><b>Bill Charlap</b> - Live at the Village Vanguard</FONT></A><br> <A HREF="#NickiParrottCD"><FONT color="white"><b>Nicki Parrott</b> - Moon River</FONT></A><br> <A HREF="#RubyBraffCD"><FONT color="white"><b>Ruby Braff</b> - Ruby Braff and the Flying Pizzarellis</FONT></A><br> <A HREF="#DinaDeroseCD"><FONT color="white"><b>Dina Derose</b> - Live At The Jazz Standard</FONT></A><br> <A HREF="#JanetSeidelCD"><FONT color="white"><b>Janet Seidel & Joe Chindamo</b> - Charade</FONT></A><br> <A HREF="#NewportCD"><FONT color="white"><b>The best of Newport  57</b></FONT></A><br> <A HREF="#KimSandersFriends"><FONT color="white"><b>Kim Sanders and Friends</b> Bent Grooves - Sound Lounge 9th May 2007</FONT></A><br> <A HREF="#CliffordBrownCD"><FONT color="white"><b>Clifford Brown. Jazz Characters</b> - Joy Spring</FONT></A><br> <A HREF="#ElianeEliasCD"><FONT color="white"><b>Eliane Elias</b> - Something for You</FONT></A><br> <A HREF="#DaveDouglasCD"><FONT color="white"><b>Dave Douglas & Keystone</b> - Moonshine</FONT></A><br> <A HREF="#LesTresorsCD"><FONT color="white"><b>Les Tresors</b> - Du Jazz</FONT></A><br> <A HREF="#HarryAllenCD"><FONT color="white"><b>Harry Allen-Joe Cohn Quartet</b> - Music from Guys and Dolls</FONT></A><br> <A HREF="#JimmyCobbCD"><FONT color="white"><b>The Jimmy Cobb Quartet</b> - Cobb s Corner</FONT></A><br> <A HREF="#BarneyMcAllCD"><FONT color="white"><b>Barney McAll</b> - Flashbacks</FONT></A><br> <A HREF="#MattKeeganTrioCD"><FONT color="white"><b>Matt Keegan Trio</b> - Tone Imagination </FONT></A><br> <A HREF="#Steve RussellCD"><FONT color="white"><b>Steve Russell</b> - When the Light Comes</FONT></A><br> <A HREF="#BeckyFoxCD"><FONT color="white"><b>Becky Fox</b> - Allure</FONT></A><br> <A HREF="#HoraceSilverCD"><FONT color="white"><b>Horace Silver</b> - Jazz Characters</FONT></A><br> <A HREF="#CamMcAllisterCD"><FONT color="white"><b>Cam McAllister Quintet</b> - Libran Balance</FONT></A><br> <A HREF="#JackieRyanCD"><FONT color="white"><b>Jackie Ryan</b> - You And The Night And The Music</FONT></A><br> <A HREF="#EllaFitzgeraldCD1"><FONT color="white"><b>Ella Fitzgerald</b> - Live At Mister Kelly s</FONT></A><br> <A HREF="#AnthonyHoweCD"><FONT color="white"><b>Anthony Howe</b> - The Misty Downs Sessions</FONT></A><br> <A HREF="#EnricoRavaCD"><FONT color="white"><b>Enrico Rava and Stefano Bollani</b> - The Third Man</FONT></A><br> <A HREF="#RobertaGambariniCD"><FONT color="white"><b>Roberta Gambarini and Hank Jones</b> - You Are There</FONT></A><br> <A HREF="#JonErikKelsoCD"><FONT color="white"><b>Jon-Erik Kelso</b> - Blue Roof Blues: A Love Letter to New Orleans</FONT></A><br> <A HREF="#RussellMaloneCD1"><FONT color="white"><b>Russell Malone</b> - Live At the Jazz Standard</FONT></A><br> <A HREF="#DonRaderCD"><FONT color="white"><b>Don Rader</b> - Odyssey</FONT></A><br> <A HREF="#JudyBaileyCD"><FONT color="white"><b>Judy Bailey Trio</b> - Pendulum</FONT></A><br> <A HREF="#ExposedBoneCD"><FONT color="white"><b>Exposed Bone</b> - Plugged Vol II</FONT></A><br> <A HREF="#GEST8CD"><FONT color="white"><b>GEST8</b> - Kaleidoscope</FONT></A><br> <A HREF="#DexterGordonCD"><FONT color="white"><b>Dexter Gordon</b> - Live in 63 & 64</FONT></A><br> <A HREF="#KnoxvilleCD"><FONT color="white"><b>Knoxville Jazz Orchestra</b> - Blues Man from Memphis</FONT></A><br> <A HREF="#AndrewRobsonCD"><FONT color="white"><b>Andrew Robson and Paul Cutlan</b> - Simpatico</FONT></A><br> <A HREF="#DianaKrallCD"><FONT color="white"><b>Diana Krall</b> - The Very Best Of</FONT></A><br> <A HREF="#KurtEllingCD"><FONT color="white"><b>Kurt Elling</b> - Nightmoves</FONT></A><br> <A HREF="#MulgrewMillerTrioCD"><FONT color="white"><b>The Mulgrew Miller Trio</b> - Live At The Kennedy Center </FONT></A><br> <A HREF="#EllaFitzgerald2CD"><FONT color="white"><b>Ella Fitzgerald and Louis Armstron</b> - The Ultimate Duets</FONT></A><br> <A HREF="#HarryAllenCD"><FONT color="white"><b>Harry Allen & Joe Temperley</b> - Cocktails for Two</FONT></A><br> <A HREF="#DavidHazeltineCD"><FONT color="white"><b>David Hazeltine Trio</b> - The Jobim Songbook in NY</FONT></A><br> <A HREF="#BillyTaylorCD"><FONT color="white"><b>Billy Taylor & Gerry Mulligan</b> - Live at MCG</FONT></A><br> <A HREF="#CarolSloaneCD"><FONT color="white"><b>Carol Sloane</b> - Dearest Duke</FONT></A><br> <A HREF="#WatermelonSlimCD"><FONT color="white"><b>Watermelon Slim</b> - The Wheel Man and The Workers</FONT></A><br> <A HREF="#BenSidranCD"><FONT color="white"><b>Ben Sidran</b> Talking Jazz - An Oral History</FONT></A><br> <A HREF="#JGMO"><FONT color="white"><b>Jazzgroove Mothership Orchestra with Florian Ross</b> - Dream Wheel</FONT></A><br> <A HREF="#SteveHunterBandCD"><FONT color="white"><b>The Steve Hunter Band</b> - Dig My Garden</FONT></A><br> <A HREF="#DaveBrubeckCD"><FONT color="white"><b>Dave Brubeck</b> - Indian Summer</FONT></A><br> <A HREF="#JoeCohnCD"><FONT color="white"><b>Joe Cohn</b> - Restless</FONT></A><br> <A HREF="#EllaFitzgerald1CD"><FONT color="white"><b>Ella Fitzgerald</b> - Love Letters from Ella</FONT></A><br> <A HREF="#GEST8"><FONT color="white"><b>GEST8</b> - Sound Lounge 26/10/2007</FONT></A><br> <A HREF="#WayOutWestCD"><FONT color="white"><b>Way Out West</b> 'Old Grooves for New Streets'</FONT></A><br> <A HREF="#ChrisCodyCoalitionCD"><FONT color="white"><b>Chris Cody Coalition</b> 'Conscript'</FONT></A><br> <A HREF="#SaraGazarekCD"><FONT color="white"><b>Sara Gazarek</b> 'Return to You'</FONT></A><br> <A HREF="#AndreaKellerCD"><FONT color="white"><b>Andrea Keller Quartet</b> 'Little Claps'</FONT></A><br> <A HREF="#Barnett5CD"><FONT color="white"><b>Barnett 5</b>'Little Green Men'</FONT></A><br> <A HREF="#AndyFiddesCD"><FONT color="white"><b>Andy Fiddes</b> 'Livewire'</FONT></A><br> <A HREF="#ManlyJazz"><FONT color="white"><b>Manly Jazz Festival 2007</b></FONT></A><br> <A HREF="#JaneMonheitCD"><FONT color="white"><b>Jane Monheit</b> 'Surrender'</FONT></A><br> <A HREF="#OscarPetersonCD"><FONT color="white"><b>Oscar Peterson, Ray Brown & Milt Jackson</b> 'The Very Tall Band'</FONT></A><br> <A HREF="#TerrillStaffordCD"><FONT color="white"><b>Terrill Stafford Quintet</b> 'Taking Chances: Live at the Dakota'</FONT></A><br> <A HREF="#Wanderlust"><FONT color="white"><b>'Wanderlust'</b> - Sound Lounge 28/8/2007</FONT></A><br> <A HREF="#TimBruerCD"><FONT color="white"><b>The Tim Bruer Quartet</b> (self titled)</FONT></A><br> <A HREF="#DeidreRodmanCD"><FONT color="white"><b>Deidre Rodman & Steve Swallow</b> 'Twin Falls'</FONT></A><br> <A HREF="#ZoeCD"><FONT color="white"><b>Zoe and the Buttercups</b> (self titled)</FONT></A><br> <A HREF="#TonyGorman"><FONT color="white"><b>Tony Gorman and Bobby Singh</b> 'As Wide as the Sky'</FONT></A><br> <A HREF="#EllaFitzgeraldCD"><FONT color="white"><b>Ella Fitzgerald</b> 'The Very Best Of The Songbooks'</FONT></A><br> <A HREF="#KennyDavernCD"><FONT color="white"><b>Kenny Davern and Ken Peplowski</b> 'Dialogues'</FONT></A><br> <A HREF="#TordGustavsenCD"><FONT color="white"><b>Tord Gustavsen Trio</b> 'Being There'</FONT></A><br> <A HREF="#ClaireMartinCD"><FONT color="white"><b>Claire Martin</b> 'He Never Mentioned Love'</FONT></A><br> <A HREF="#FrankVignolaCD"><FONT color="white"><b>Frank Vignola</b> 'Vignola Plays Gershwin'</FONT></A><br> <A HREF="#TrioApoplecticCD"><FONT color="white"><b>Trio Apoplectic</b></FONT></A><br> <A HREF="#JazzInChartsCD"><FONT color="white"><b>Jazz in the Charts</b></FONT></A><br> <A HREF="#SquallCD"><FONT color="white"><b>Squall</b> 'Squall'</FONT></A><br> <A HREF="#DougCoxCD"><FONT color="white"><b>Doug Cox, Salil Bhatt with Ramkumar Mishra</b> 'Slide to Freedom'</FONT></A><br> <A HREF="#SHOWA44CD"><FONT color="white"><b>SHOWA44</b> 'Ormus'</FONT></A><br> <A HREF="#PaulMotianCD"><FONT color="white"><b>Paul Motian</b> 'Time And Time Again'</FONT></A><br> <A HREF="#CherylBentyneCD"><FONT color="white"><b>Cheryl Bentyne</b> 'The Book Of Love'</FONT></A><br> <A HREF="#FredHerschCD"><FONT color="white"><b>Fred Hersch</b> 'Personal Favourites'</FONT></A><br> <A HREF="#TierneySuttonBandCD"><FONT color="white"><b>Tierney Sutton Band</b> 'On The Other Side'</FONT></A><br> <A HREF="#ReginaCarterCD"><FONT color="white"><b>Regina Carter</b> 'I ll Be Seeing You: A Sentimental Journey'</FONT></A><br> <A HREF="#WyntonMarsalisCD"><FONT color="white"><b>Wynton Marsalis</b> 'From The Plantation To The Penitentiary'</FONT></A><br> <A HREF="#ChristianMcBrideCD"><FONT color="white"><b>Christian McBride</b> 'New York Time'</FONT></A><br> <A HREF="#AdrianCunninghamQuartetCD"><FONT color="white"><b>Adrian Cunningham Quartet</b> 'The Live Sessions'</FONT></A><br> <A HREF="#BonnieJJensenCD"><FONT color="white"><b>Bonnie J Jensen</b> 'The sapphire tree'</FONT></A><br> <A HREF="#SeanCoffin"><FONT color="white"><b>Sean Coffin Quintet</b> - Sound Lounge 2/06/2007</FONT></A><br> <A HREF="#HarryConnickCD"><FONT color="white"><b>Harry Connick Jr</b> 'Chanson du vieux carre'</FONT></A><br> <A HREF="#ScottHamiltonCD"><FONT color="white"><b>Scott Hamilton</b> 'Nocturnes And Serenades' </FONT></A><br> <A HREF="#RomeroLubamboCD"><FONT color="white"><b>Romero Lubambo</b> 'Softly' </FONT></A><br> <A HREF="#BuckyPizzarelliCD"><FONT color="white"><b>Bucky Pizzarelli</b> '5 For Freddie'</FONT></A><br> <A HREF="#JohnPizzarelliCD"><FONT color="white"><b>John Pizzarelli</b> 'Dear Mr Sinatra' </FONT></A><br> <A HREF="#VariousArtistsCD"><FONT color="white"><b>Various Artists</b> 'Lush Life'</FONT></A><br> <A HREF="#NewYorkTrioCD"><FONT color="white"><b>New York Trio</b> 'Thou Swell'</FONT></A><br> <A HREF="#SonnyRollinsCD"><FONT color="white"><b>Sonny Rollins</b> 'Sonny Please'</FONT></A><br> <A HREF="#ColoursofKenyaCD"><FONT color="white"><b>Judy Campbell's Mosaic with Bandika Ngao</b> 'Colours of Kenya'</FONT></A><br> <A HREF="#TimBruer"><FONT color="white"><b>Tim Bruer Quartet</b> - Sound Lounge 11/05/2007</FONT></A><br> <A HREF="#StefonHarrisCD"><FONT color="white"><b>Stefon Harris</b> 'African Tarantella'</FONT></A><br> <A HREF="#GladysKnightCD"><FONT color="white"><b>Gladys Knight</b> 'Before me'</FONT></A><br> <A HREF="#RussellMaloneCD"><FONT color="white"><b>Russell Malone</b> 'Live At The Jazz Standard'</FONT></A><br> <A HREF="#IkeQuebecCD"><FONT color="white"><b>Ike Quebec</b> 'It Might As Well Be Spring'</FONT></A><br> <A HREF="#CharlesTolliverCD"><FONT color="white"><b>Charles Tolliver Big Band</b> 'With Love'</FONT></A><br> <A HREF="#MikeNockCD"><FONT color="white"><b>Mike Nock and Dave Liebman</b> 'In Concert  Duologue'</FONT></A><br> <A HREF="#TomOHalloranCD"><FONT color="white"><b>Tom O'Halloran</b> 'Green Hills and White Clouds'</FONT></A><br> <A HREF="#PaulMotianBCD"><FONT color="white"><b>Paul Motian</b> 'On Broadway VOL 4'</FONT></A><br> <A HREF="#JudyBaileyCD"><FONT color="white"><b>Judy Bailey Quartet</b> 'Colours'</FONT></A><br> <A HREF="#KennyDavernCD"><FONT color="white"><b>Kenny Davern</b> 'No One Else But Kenny'</FONT></A><br> <A HREF="#ColemanHawkinsCD"><FONT color="white"><b>Coleman Hawkins</b> 'The Hawk Flies High'</FONT></A><br> <A HREF="#HankJonesCD"><FONT color="white"><b>Hank Jones and Frank Wess</b> 'Hank and Frank'</FONT></A><br> <A HREF="#NormKubrinCD"><FONT color="white"><b>Norm Kubrin</b> 'I Thought About You'</FONT></A><br> <A HREF="#IreneKralCD"><FONT color="white"><b>Irene Kral</b> 'The Band And I'</FONT></A><br> <A HREF="#MarkIsaac"><FONT color="white"><b>Mark Isaacs's Resurgence</b> - Sound Lounge 24/042007</FONT></A><br> <A HREF="#JudyCampbell"><FONT color="white"><b>Judy Campbell's Mosaic</b> - Eastside Arts 17/03/2007</FONT></A><br> <A HREF="#TheNecks"><FONT color="white"><b>The Necks</b> - The Basement 21/03/2007</FONT></A><br> <A HREF="#SeanWaylandCD"><FONT color="white"><b>Sean Wayland</b></FONT></A><br> <A HREF="#McGannGig"><FONT color="white"><b>Bernie MCGann</b> Re-unite at the Lounge, 19/01/2007</FONT></A><br> <A HREF="#BobMargolinCD"><FONT color="white"><b>Bob Margolin</b> 'In North Carolina'</FONT></A><br> <A HREF="#DavePanichiReview"><FONT color="white"><b>Dave Panichi Septet</b> 'Seven Steps to Manhattan'</FONT></A><br> <A HREF="#HipFlask"><FONT color="white"><b>Roger Manins</b> 'Hip Flask'</FONT></A><br> <A HREF="#Drumnvoice"><FONT color="white"><b>Billy Cobham</b> 'Drum'n'voice'</FONT></A><br> <A HREF="#Chemist"><FONT color="white"><b>The Necks</b> 'Chemist'</FONT></A><br> <A HREF="#Mercury"><FONT color="white"><b>Alister Spence Trio</b> 'Mercury'</FONT></A><br> <A HREF="#JohnHarkinsCD"><FONT color="white"><b>John Harkins</b></FONT></A><br> <A HREF="#Wangaratta"><FONT color="white"><b>Days of Wine and Oehlers,</b> Wangaratta 2006.</FONT></A><br> <A HREF="#AndyFiddes"><FONT color="white"><b>Andy Fiddes</b> 'Survival of the Fiddes'</FONT></A><br> <A HREF="#CoffinBrothersLive"><FONT color="white"><b>Coffin Brothers</b> 'Coffin Brothers Live'</FONT></A><br> <A HREF="#GraceChung"><FONT color="white"><b>Grace Chung</b> 'Liking you Liking Me'</FONT></A><br> <A HREF="#LeoTrincabelli"><FONT color="white"><b>Leo Trincabelli</b> 'Hangmusic'</FONT></A><br> <A HREF="#AndreaKeller"><FONT color="white"><b>Andrea Keller</B> 'Angels and Rascals'</FONT></A><br> <A HREF="#BradMehldauTrio"><FONT color="white"><b>Brad Mehldau Trio</b> 'House on Hill'</FONT></A><br> <A HREF="#BlakeWilner"><FONT color="white"><b>Blake Wilner Quartet</b> 'Interloper'</FONT></A><br> <A HREF="#JoeChindamo"><FONT color="white"><b>Joe Chindamo</b> 'Solo Live at Umbria Jazz 2005'</FONT></A><br> <A HREF="#LeoDale"><FONT color="white"><b>Leo Dale</b> 'Moonlight Drive - @ the Famous Blue Raincoat'</FONT></A><br> <A href="#BarneyMcAll"><FONT color="white"><b>Barney McAll</b> 'Vivid'</FONT></A><br> <A href="#KimSanders"><FONT color="white"><b>Kim Sanders</b> with Peter Kennard 'Tranc'n'Dancin'</FONT></A><br> <A href="#TheConglomerate"><FONT color="white"><b>The Conglomerate</b> 'Go to the Beach'</FONT></A><br> <A HREF="#McGann"><FONT color="white"><b>Bernie McGann</b> 'Blues for Pablo Too'</FONT></A><br> <A HREF="#Numerology"><FONT color="white"><b>Cameron Undy</b> 'Numerology - Telepathy'</FONT></A><br> <A HREF="#Osby"><FONT color="white"><b>Greg Osby</b> 'Public'</FONT></A><br> <A HREF="#Jasper"><FONT color="white"><b>Jasper Leak Quintet</b> 'It's Cold Out'</FONT></A><br> <A HREF="#Jarrett"><FONT color="white"><b>Keith Jarrett</b> 'The Out of Towners'</FONT></A><br> <A HREF="#Diaspora"><FONT color="white"><b>Steven Bernstein</b> 'Diaspora Hollywood'</FONT></A><br> <A HREF="#Coltrane"><FONT color="white"><b>Alice Coltrane</b> 'Translinear Light'</FONT></A><br> <A HREF="#Johnson"><FONT color="white"><b>Fiona Johnson</b> and Cameron Undy 'Beads of Light'</FONT></A><br> <A HREF="#Jukka"><FONT color="white"><b>Jukka Perko,</b> Severi Pyysalo, Teemu Viinikainen 'Kuunnelmia'</FONT></A><br> <A HREF="#LeonieCohen"><FONT color="white"><b>Leonie Cohen Plus</b> 'Jerusalem'</FONT></A><br> <A HREF="#JoeChindamo"><FONT color="white"><b>Graeme Lyle</b> Meets Joe Chindamo 'Love Blues and Other Fiction'</FONT></A><br> <A HREF="#Karlie"><FONT color="white"><b>Karlie Bruce</b> 'La Brava'</FONT></A><br> <A HREF="#Cunningham"><FONT color="white"><b>Adrian Cunningham</b> 'The View from Here'</FONT></A><br> <A HREF="#JavaQuartet"><FONT color="white"><b>The Java Quartet</b> 'Deep Blue Sea'</FONT></A><br> <A HREF="#Frisell"><FONT color="white"><b>Bill Frisell</b> 'Unspeakable'</FONT></A> </div> </td> <td background="bitmaps/bg_text.gif" width="76%" class="text" valign="top"> <!-- TEXT --> <A NAME="Index"> <h3>&nbsp;Reviews</h3> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> - masterpiece, &nbsp;&nbsp;&nbsp; <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> - excellent, &nbsp;&nbsp;&nbsp; <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> - good, &nbsp;&nbsp;&nbsp; <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> - fair, &nbsp;&nbsp;&nbsp; <img src="bitmaps/star.gif" alt="" width="14" height="14" border="0"> - poor </A> <table cellpadding="5" cellspacing="0" class="maintext"> <!-- //////////////////////////////////////////////////////////////////// --> <!-- <tr> <td><A NAME="">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/.jpg" width="210"> </td> </td> <td><font color="black"><b> </b><br> </font> </td> </tr> </table> <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by .<br><span style='font-size:7.0pt'>Previously published in Limelight 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> --> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="AlexMaguireCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/AlexMaguireCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Alex Maguire Sextet - Brewed in Belgium (Moonjune Records MJR022)</b><br> </font> </td> </tr> </table> The UK pianist is known for his longstanding collaborations with the likes of Evan Parker and more recently with Elton Dean in the areas of fusion and free improvisations. This live Belgium set showcases his compositions that seamlessly allow open ended freedom within beautiful structures. The sextet were at one this evening and even the applause seems syncopated. Maguire s gentile touch is interspersed with intermittent explosions of energy. Saxophonist Robin Verheyen plays a Coltranesque lead role on both tenor and soprano. The opening piano soliloquy  Psychic Warrior is Maguire s highlight. The only drawback is the live recorded quality which has a certain remoteness. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight June 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="IngridJamesCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/IngridJamesCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Ingrid James & John Reeves - Circumflex (Newmarket Music NEW3262.2)</b><br> </font> </td> </tr> </table> Few jazz singers attempt nor succeed recording with solely piano accompaniment but James s areabile tone and precise pitch hits the mark with a mixture of classics, jazz standards and contemporary tunes, given unfamiliar treatment in both tempo and accented phrasing;  Yesterdays finale recalls Betty Carter s sublime bent about notes;  Just one of those Things rapid tempo is a lesson in agility and breath control while  Devil May Care is one of the finest I ve heard. Weaker material like Eric Clapton s  Strange Brew and Brian Wilson s  God Only Knows receive undue credibility and thoughtful backing with tasty filling from UK pianist John Reeves. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight June 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="KeizjerMcGuinessCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/KeizjerMcGuinessCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Keizjer McGuiness Quintet - The Seed Habit (Rufus RF079)</b><br> </font> </td> </tr> </table> Despite thousands of miles of separation, Australian trombonist Lucian McGuiness and Dutch saxophonist Remco Keijzer have documented their intuitive musical understanding with a stellar Sydney quintet. The persistent use of staccato passages within the compositions builds a tension that is released like a steam valve when drummer James Hauptmann lays down the fattest of grooves or the dual horns intermingle with some delightfully lyrical counterpoint. Matt McMahon adds some trademark contemplation on Fender Rhodes but it s the intertwined harmonic lines of the bone and sax that tends to demand more attention over the traditional role of the single soloist. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight June 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JoeAscioneCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JoeAscioneCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Joe Ascione - Movin Up (Arbors ARCD 19359)</b><br> </font> </td> </tr> </table> Stricken with MS! No feeling in his hands! No problem for Joe Ascione. As he says in his liner notes  the party continues Listen to the veteran New York drummer s dazzling brushwork on the uptempo  Zip-A-Dee-Doo-Dah s Got Rhythm (a blending of Disney and Gershwin). If that doesn t astound you try the samba-inflected  So In Love on this inspired and imaginative drum journey through some lovely melodies with the ebullient but warm clarinet of Allan Vache, pianist and vibraphonist John Cocuzzi and bassist Frank Tate. Strongly recommended for those who like their jazz uncomplicated but straight ahead and swinging. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight May 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="BennyGolsonCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/BennyGolsonCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Benny Golson - New Time, New  Tet (Concord 08880723111213)</b><br> </font> </td> </tr> </table> A fine tenor saxophonist but an even better composer and arranger, Benny Golson makes light of his 80 years as he revisits the timeless three-horn frontline sound of the Jazztet which he led with Art Farmer in the early 1960 s. No  I Remember Clifford and  Whisper Not is spoilt by Al Jarreau s lightweight vocal but Golson s grand new compositions include the lovely ballad  From Dream To Dream and the groovy  Uptown Afterburn plus original treatments of hard bop classics and tasteful jazz versions of Chopin and Verdi. Trumpeter Eddie Henderson is outstanding; exquisitely muted on  L Adieu and rollicking on  Airegin . <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight May 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="HoraceSilverCD1">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/HoraceSilverCD1.jpg" width="210"> </td> </td> <td><font color="black"><b>Horace Silver - Live At Newport  58 (Blue Note 0946 3 98070 2 4)</b><br> </font> </td> </tr> </table> Another treasure from the past released for the first time! This time it s pianist Horace Silver, the master of funk, Latin and hard bop, in exceptional form with his new quintet on July 6, 1958 at the Newport Jazz Festival. Of major interest is the exciting trumpet work of Louis Smith who would leave in a matter of weeks to return to teaching, his first love, and be replaced by Blue Mitchell. Tenor saxophonist Junior Cook s depth and musical stability make him the perfect foil for Smith s power and drive. Prime Silver at its exuberant best; a classic session. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight May 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="TheFantasticTerrificMunkleCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/TheFantasticTerrificMunkleCD.jpg" width="210"> </td> </td> <td><font color="black"><b>The Fantastic Terrific Munkle - Music to Dance to (Jazzgroove JGR046) </b><br> </font> </td> </tr> </table> This is TFTM s joyous follow up to  The Cahoots . The Sydney quartet s instrumentation guarantees they could perform in a parade or a carnival; clarinets, tuba, trumpet, flute, banjo, guitars and percussion; absent are piano and double-bass. Composers Sam Golding and Julian Curwin provide portions of blues, but at times could be supporting a circus clown, a Turkish belly dancer, a Rastafarian but more likely entertaining at a Mediterranean Fiesta. Initially nomadic,  Incidental Gaucho becomes a triumphal prodigal homecoming. Freewheeling improv from a talented Sydney quartet ensures no parody just fantastic original jazz that doesn t take itself too seriously. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight May 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="TheBruceCaleQuartetCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/TheBruceCaleQuartetCD.jpg" width="210"> </td> </td> <td><font color="black"><b>The Bruce Cale Quartet - The Sydney Concert - On Fire (Tall Poppies TP203)</b><br> </font> </td> </tr> </table> Historically, the 1980 NSW Jazz Action Society concert documented a young and extraordinary talented Dale Barlow with the uncanny ability to own these gorgeous melodies on tenor, soprano and flute. The late multi-instrumentalist Roger Frampton reveals, if there was ever any doubt, his genius as both a contemporary melody maker and an inventor with unlimited resource. His unaccompanied duet on alto saxophone with Barlow s tenor on the Cale piece  Bells is an overwhelming highlight, while Phil Treloar s percussion and in particular his brightly rendered cymbal work adds both rhythmic drive and balanced beauty. Like Dave Holland, Cale becomes an anchor but also a bridge for the others to cross pollinate. The post  Jazz Co-op empathy between Frampton and Treloar was probably most precious during this period. The only flaw is the bass pick up device which is a dead giveaway for 1980 s technology in contrast to today s woody resonance. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight May 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DaleBarlowCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DaleBarlowCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Dale Barlow - Treat Me Gently (Jazzhead HEAD 092)</b><br> </font> </td> </tr> </table> In a hard swinging bop setting, there is hardly a tenor player on earth that can touch Dale Barlow in full flight and yet his basic instinct on the ballad  You Go to my Head displays a mature tenderness that would arouse romantics just as Coltrane s  Ballads album did in 1962. Clearly inspired by the presence of US drummer George Coleman jnr and his long time collaborator pianist Mark Fitzgibbon, this is Barlow at the top of his game contributing two originals while Coleman brings two pieces from his Rivington Project collaborator/guitarist Victor Magnani, and his father s funky  Amsterdam After Dark . <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight April 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DarrenHeinrichTrioCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DarrenHeinrichCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Darren Heinrich Trio - New Vintage Tunes for the Hammond Organ (DazzJazz DJ001) </b><br> </font> </td> </tr> </table> Showcasing the Hammond organist s originals in two distinct trio settings: Heinrich has inhaled the musical breath of Jimmy Smith, Larry Young and Dr Lonnie Smith and exhaled a freshness and originality in composition and smart chops stylistically rooted in the Hammond-guitar trio tradition. The first with guitarist Steve Brien, whose light fleeting fingering complements drummer Andrew Dickeson s intricate Blakeyesque patterns. The second trio carries weightier definition with Simon Relf s guitar and Tim Firth s funkier drums. Produced by organ master Tony Monaco; for organ fans with a connection to the greats of the instrument, this is where it s at in Australia. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight April 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="ConvergingPathsCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/PhilTreloarCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Phil Treloar & Hamish Stuart - Converging Paths Shades of There (Feeling to Thought Production FT 003) </b><br> </font> </td> </tr> </table> I can t imagine a recording which could capture more extemporization and random acts of giving from the human spirit. Treloar forgoes the drum kit for marimba while Stuart utilises the kit and whatever else within his immediate environ including the rustling sound of empty pistachio shells. There were no pre-conceived ideas or plans for these interactions which at times border on telepathic. The marimba repeats patterns that act like memory flashbacks rather than repetitious melody. Neither courageous nor self indulgent but honestly and faithfully expressed, clearly influenced by the over-arching maze of sound found in an Australian bushland setting near Milton NSW <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight April 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="BozScaggsCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/BozScaggsCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Boz Scaggs - Speak Low (Decca 1784345)</b><br> </font> </td> </tr> </table> Five years since his first standards album (But Beautiful) with a jazz quartet, Boz Scaggs has topped it with a quietly intimate collection of jazz and popular chestnuts. Pianist Gil Goldstein s writing for reeds, vibes and strings has the right degree of mellow sophistication for the 64-year-old Scaggs subtle and emotional phrasing. I detect a nod to Chet Baker and Johnny Hartman, a far cry from his early influences Ray Charles and Jimmy Reed, especially his lonely soliloquy on Invitation and the laidback This Time The Dream s On Me. Superior jazz solos, especially by Bob Sheppard (reeds). Add to the enjoyment. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight April 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JohnPizzarelli1CD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JohnPizzarelli1CD.jpg" width="210"> </td> </td> <td><font color="black"><b>John Pizzarelli - With A Song in My Heart (Telarc CD-83676)</b><br> </font> </td> </tr> </table> This album by one of the most recorded artists of the past 12 months reinforces my belief that Richard Rodgers partnership with Lorenz Hart produced superior music to that of his more theatrical output with Oscar Hammerstein II. The three tracks by the latter partnership are the weakest as the multi-talented John Pizzarelli takes a refreshing approach to Rodgers legacy. The title track swings effortlessly from start to finish and his smooth, informal supper club vocals are complemented beautifully by Don Sebesky s charts (shades of Marty Paich) for the Swing Seven. The highlight: fellow guitarist and father Bucky guesting with him on It s Easy to Remember. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight April 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="WarrenVacheCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/WarrenVacheCD.jpg" width="210"> </td> </td> <td><font color="black"><b>The Warren Vache-John Allred Quintet Live - Jubilation (Arbors Jazz ARCD 19369)</b><br> </font> </td> </tr> </table> The special rapport between cornet player Warren Vache and trombonist John Allred built on a friendship of more than 20 years is evident in this hard-swinging live session recorded before an appreciative audience in December 2007 at Marians Jazzroom in Berne, Switzerland. They blend seamlessly, as on the unaccompanied two-chorus contrapuntal duet on Strike up the Band, and solo with style and conviction. Inspired by a crack rhythm section which includes two of New York s finest in bebop, pianist Richard  Tardo Hammer and drummer Leroy Williams, Vache shows his admiration for trumpeters Blue Mitchell and Lee Morgan as his playing takes on boppish overtones on the two Horace Silver numbers, Song For My Father and Strollin . Add bassist Nicki Parrott with her big sound and great time and it s no wonder Vache would like to  keep the group together for the next 20 years . He may be a keeper of the swing flame but Vache is comfortable in any musical environment. The highlight: Vache on My One and Only Love where his lovely melodic balladry shares the honours with a quiet interlude from Hammer. And don t miss his humorous asides with Parrott on Sweet Hunk O Trash. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight April 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JudyCarmichael1CD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JudyCarmichael1CD.jpg" width="210"> </td> </td> <td><font color="black"><b>Judy Carmichael - Come and Get It (www.judycarmichaelo.com)</b><br> </font> </td> </tr> </table> Acclaimed as a polished exponent of stride piano with one of the most swinging left hands in jazz, Judy Carmichael now shows she is a more than capable singer as with her all star septet she slinks through the Benny Goodman chestnut All the Cats Join In and teases playfully on the title track. Her group, all class, includes two Australians, trombonist Dan Barnett and London-based guitarist Dave Blenkhorn but no one is more impressive that trumpeter Jon-Erik Kelso. Except Judy whose joyful solos capture the spirit of Fats Waller especially on the inspired version of Christopher Columbus <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight March 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="CharlieParkerBirdCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/CharlieParkerBirdCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Charlie Parker Bird - The Complete Charlie Parker on Verve (Verve 983 3382)</b><br> </font> </td> </tr> </table> Before signing an exclusive recording contract with jazz impresario Norman Granz in late 1948, Charlie Parker had played in mainly the bebop quintet format. Under Granz s banner the then most influential musician in jazz recorded with strings, big bands, choirs and first-class small groups. This magnificent 10-CD set has everything Parker recorded for Granz s various labels from a 1946 Jazz at the Philharmonic concert to his final studio session in 1954. No matter what the setting he played brilliantly and on the best of them never played better; even on the ponderous In The Still Of The Night his alto saxophone soars majestically above the Dave Lambert Singers. The quicksilver lines of both Parker and Dizzy Gillespie spark the reunion with Thelonius Monk although either Roy Haynes or Max Roach would have been better choices than the bombastic Buddy Rich. Parker constructs the perfect solo on Embraceable You at a 1949 JATP concert at Carnegie Hall, outplays the other two members of the jazz alto trinity, Johnny Hodges and Benny Carter, on an all star date and his sessions with strings produced the classic Just Friends. Great music and great musicians, these recordings by arguably jazz s greatest improviser should be in every serious collection. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight March 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="GregCoffinTrioCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/GregCoffinTrioCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Greg Coffin Trio - It s Neither Either or. It s Both And. (Jazzgroove JGR 045)</b><br> </font> </td> </tr> </table> These originals from the Massachusetts born, Sydney based pianist were written over a 15 year period, but there is never a sense that Coffin is in auto pilot. In fact there is a feeling of timelessness about the melodies and edginess in his dominant right hand that has more concern with spatial interplay than slick technique, often completing phrases with classical afterthoughts. The zithering bass of Cameron Undy implies many of the rich harmonies rather than clearly defining them and that presents a freer platform for drummer Nic Cecire to explore raw rhythms but filling spaces with some splashy cymbal work. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight March 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JonathanZwartzCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JonathanZwartzCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Jonathan Zwartz - The Sea (<a href=http://www.myspace.com/jonathanzwartz>www.myspace.com/monathanzwartz</a>)</b><br> </font> </td> </tr> </table> Surprisingly smooth sailing from one of our most recorded bassists. On board for this overdue debut, is a stellar crew, including NY based pianist Barney McAll who makes the most appropriate statements at the most appropriate time, but like nylon string guitarist Doug DeVries, can be suddenly oblique and questioning. Phil Slater s breathy and intimate trumpet might once have been called  cool but it kindles warmth on these appealing original bossas and sambas. The clarity of recording has one sitting amongst the musicians with seemingly very little post-production manipulation. Percussionists Hamish Stuart and Fabian Hevia provide the rhythmic impetus and the colligation of sound <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight March 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="BradMehldau">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td><b>Mehldau meltsdown the Basement 12th March 2009</b><br> Brad Mehldau  piano<br> Larry Grenadier  double bass<br> Jeff Ballard  drums <br><br> Pianist Brad Mehldau s first visit to the Harbour city lived up to expectation. Eleven years ago I recall an emerging artist. An artist not only deserving, but demanding wider recognition; an artist eager to incorporate contemporary music into his repertoire; the music of Radiohead; That in itself was hardly groundbreaking. Herbie Hancock had already recorded  New Standard years earlier but even in 1998 he shared billing with Hancock s trio at the Marciac Jazz Festival in France. It was his youthful fresh approach. He had a tattoo on his arm. He didn t look like the leader of a jazz piano trio.<br><br> Mehldau has lost very little of that youthful approach but has now refined his restrained, even handed and thoughtful approach to performance. He had the capacity Basement audience as thoughtfully pensive as I can recall. They listened very intently and reacted accordingly to every trickle or flourish.<br><br> Mehldau s trio now includes Jeff Ballard on the drums and from the very first moment the logic was evident in this choice. Ballard s playing is very similar to Mehldau s; restrained, thoughtful and textural. In some contexts this  consistency in sound could become tedious but not here.<br><br> The program was one single lengthy set made up primarily of Mehldau originals.  Dreamsketch ,  Twiggy Waltz ,  B Blues an untitled waltz performed for the first time,  Stan the Man based on the chord changes of Charlie Parker s  Confirmation were just some of the selections.<br><br> Mehldau has a rare ability to capture the imagination of both jazz purists and pop seekers. All his pieces had rhythmic drive and a propensity to be melodic without overstatement. While Larry Grenadier s bass carries much of that weight, it s the exquisite, lyrical touch of Mehldau that had me hanging on each and every note. Each of his hands genuinely communicate with each other, sometimes in different languages, conjuring the idea of  call and response between the treble and the bass, almost Monkish but with lighter hands arched and without the steadfast percussive trait.<br><br> The number of great Sydney musicians including a couple of legends in the audience justified the respect this artist demands. Fortunately someone had the sense or needed to be prompted to turn off an irritating clicking ceiling fan which detracted from a poignant Mehldau ballad about two thirds through the show.<br><br> Mehldau treated his Sydney audience to glorious encores. Come back soon Mr Mehldau.<br> </td> </tr> <tr> <td align="right"> by Peter Wockner. </td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JohnnyVarroCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JohnnyVarroCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Johnny Varro Swing 7 - Ring Dem Bells (Arbors ARCD 19362)</b><br> </font> </td> </tr> </table> Pardon my bias but this is the style of music which first attracted me to jazz My tastes are now wider and more varied but it s pleasure to review an album which recaptures so well the spirit, both melodically and rhythmically, of the 1930s, 40s and 50s.. Versatility describes this all star septet: for example Jelly Roll Morton s Buddy Bolden s Blues is followed by a relaxed version of the Woody Herman big band classic Sonny Speaks in a program which salutes Ellingtonia, swinging operettas, standards and long forgotten warhorses (Shim-Me-Sha Wabble). The leader s Teddy Wilson-Mel Powell inspired piano enhances every track and his charts leave plenty of room for the in-form front line _ Randy Sandke (trumpet), Dan Barrett (trombone), Ken Peplowski (alto/clarinet) and Scott Robinson (tenor). Marvel at the way each soloist builds on the foundation set by bassist Frank Tate and drummer Joe Ascione on the title track. It s the epitome of swing. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight February09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="MargieLouDyerCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/MargieLouDyerCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Margie Lou Dyer and Allan Browne - Allfrey Street (Newmarket NEW 3251 2)</b><br> </font> </td> </tr> </table> The sounds of 1920 s jazz have rarely been in better hands. Melbourne drummer Allan Browne and his pianist-vocalist wife Margie Lou Dyer aided by some of the city s finest combine elements of gospel, the blues and a Creole touch to continue an authentic tradition with style, humour and panache in a set dedicated to the Allfrey Street Stompers which included Margie s late father Warwick and drummer Len Barnard. The multi-talented Stephen Grant shines on trumpet and Jo Stevenson s clarinet has seldom sounded better but it s Browne and Dyer who hold sway, especially the latter with her deep bluesy piano and sultry vocals. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight February09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="KatieNoonanCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/KatieNoonanCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Katie Noonan - Blackbird (Sony/BMG 88897394382)</b><br> </font> </td> </tr> </table> John Lennon and Paul McCartney wrote some nice songs but to describe them as the equal of the great classical popular songwriters . . . neither in melody nor lyrics were they in the same class as the Gershwins, Rodgers and Hart or Cole Porter. That said the best moments here come from the musicians led by tenor saxophonist Joe Lovano and guitarist John Scofield _ the instrumental Norwegian Wood is the best track. Despite the gushing liner notes, Katie Noonan s vocal gymnastics don t equate to jazz singing or scatting. I found the whole exercise irritating. Am I missing something? I doubt it. Pardon me while I listen to an Ella songbook. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight February09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="CharlieParkerCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/CharlieParkerCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Charlie Parker - Bird in Time 1940-1947 (ESP Disk ESP 4050)</b><br> </font> </td> </tr> </table>  Modern Jazz has always been heavily reliant upon zealous Public Radio Broadcasters as a means of exposing the music that never receives mainstream coverage. Now even the legendary figure, Charlie Parker who moved jazz mountains in the 1940 s, posthumously relies on a dedicated American Public Broadcaster in Michael D. Anderson, along with an adventurous label to acutely chart his lead role in the development of a music reluctantly labelled  Be-bop . This 4 disc set is definitely no historical compilation. Rather, it is an aural documentary featuring rare conversations with  Bird himself, interviews with the likes of Max Roach, Howard McGee, Milt Jackson and Ted Edwards and previously un-released material such as Parker s first known demo recording. Dated at 1936 or 1937 when he was 16 or 17, this is proof alone that he  never consciously changed [his] style when he moved to New York. The most revealing music comes in the form of four guitar duo takes with Efferge Ware captured in Kansas City in 1942. Parker, yet to have an original  Be-bop tune at his disposal, adapted  Cherokee ,  Body and Soul ,  My Heart Tells Me &  I Found a New Baby to suit the new music style he was spawning. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight February 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JennyScheinmanCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JennyScheinmanCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Jenny Scheinman - Crossing the Field (Koch Records KOC-CD-4590)</b><br> </font> </td> </tr> </table> Violinist Jenny Scheinman has found a place where American mid-western folk, classical and jazz coalesce using an eighteen piece orchestra on six of the thirteen originals save Ellington s  Awful Sad . Moments of mystery, loneliness, melancholy, barn dance romps and marches but a definitive highlight is the back-beaten  Hard Sole Shoe where call and response conversations between Jason Moran s probing piano and orchestra morph into an assimilated but retreating monologue before Doug Wieselman s bass clarinet pokes and prods the strings back into the mix. Long Time collaborator Bill Frisell adds his effects laden quirky country fusion to this surprising concoction of disparate ingredients that ferments well. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight February 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="MichaelFeinsteinCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/MichaelFeinsteinCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Michael Feinstein - The Sinatra Project (Concord 7230819)</b><br> </font> </td> </tr> </table> Frank Sinatra did it his way, and so does pianist and vocalist Michael Feinstein, one of the premiere interpreters of the classic American popular song, in this thoughtful homage to an icon. Feinstein, with arranger-conductor Bill Elliott, has explored some of the lesser known songs from the 1940s Sinatra canon, and re-interpreted them in Capitol s famous Studio A in Hollywood as if they had been recorded a decade later in one of Sinatra s classic concept albums with arrangers Billy May and Nelson Riddle. Outstanding is  Begin the Beguine in the swinging style of Riddle s famous 1956 chart of  I ve Got You Under My Skin . Feinstein doesn t attempt to emulate the swaggering yet sophisticated style of Sinatra s glory days, who could? His soft distinctive tenor shines on the intimate  The Same Hello, The Same Goodbye . This album simply reeks of class. Frank would approve! <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JohnBunchCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JohnBunchCD.jpg" width="210"> </td> </td> <td><font color="black"><b>The John Bunch Trio - Music of Irving Berlin (Arbors ARCD 19376) </b><br> </font> </td> </tr> </table> First-class piano jazz in the Hank Jones tradition, this is a melodist s delight, not surprising considering the quality of the songs by one of America s greatest tunesmiths, The 87-year-old John Bunch shows he is still an elegant swinger of the highest order and the same could be said for the former Count Basie star saxophonist and arranger Frank Wess (86) who, guesting on six tracks, shows he still has few peers as a flautist in jazz. Guitarist Frank Vignola and bassist John Webber both help make this album a joy from start to finish where the high standard set by Soft Lights and Sweet Music never falters. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="RonCarterCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/RonCarterCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Ron Carter - Jazz and Bossa (Blue Note 50999 2 28104 2 7) </b><br> </font> </td> </tr> </table> This 2008 session shows master bassist Ron Carter s affinity with the bossa nova rhythms he first discovered nearly 50 years ago when he recorded on Antonio Carlos Jobim s 1960 album  Wave . Drawing on a pool of musicians comprising pianist Stephen Scott and percussionist Rolando Morales-Matos from his own group, the Brazilians, drummer Portinho and guitarist Guilhere Monteiro, and tenor saxophonist Javon Jackson, Carter leads them through a program of jazz standards, Brazilian numbers and his own originals with more than satisfactory results, especially in the more intimate settings such as the bass-guitar duet on  Wave and Monteiro s lovely solo excursion on  Saudade . <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JoeLovanoCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JoeLovanoCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Joe Lovano with the WDR Big Band & Rundfunk Orchestra - Symphonica (Blue Note 50999 2 26225 2 5)</b><br> </font> </td> </tr> </table> Lovano fearlessly tackles a variety of jazz settings, but the great pre-bop saxophonists can still be heard in his sound derived from his day s playing with his father and his contemporaries. This Cologne 2005 performance has many essential ingredients of the jazz tradition and yet forges a fresh approach for a soloist fronting a renowned big band and orchestra. These are predominantly his own compositions including his adaptation of some  Body & Soul melody into  I m all for You and Mingus s similar compositional technique, transforming  Lush Life into  Duke Ellington s Sound of Love . There is never a lack of intensity despite the lush strings, his sometimes gargling tenor and his swiftly fluttering soprano. The sensitivity, honesty and above all his intricate inventions, rarely repeating phrases, make his one of the greatest tenors around. His fascination with percussion along with his collection of cymbals and gongs, gives his playing a rhythmic forward momentum pushing the Big Band along but mystically harmonic on the ballads. He trades blows with altoist Karolina Strassmayer on  Alexander the Great while a splintering trumpet soloist on the edgey  Eternal Joy goes without credit on the liners. Guitarist Paul Shigihara must have wowed the German audience with his blues tinged guitar work. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="AlcohotlicksCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/AlcohotlicksCD.jpg" width="210"> </td> </td> <td><font color="black"><b>The Alcohotlicks - You You (Jazzgroove Records JGR044)</b><br> </font> </td> </tr> </table> A two guitar trio with the anger and attitude of 1970 s pub rock but with the talent of a winner and runner-up of the National Jazz Awards in Aaron Flower and Ben Hauptmann with the unrelenting Evan Mannell on drums; if this band had a vocalist, imagine the queues at The Big Day Out! It s not all screaming guitar solos and dark chords however,  Sad Song has a beauty that would make any anti-punk happy and imagine Robin car-bonnet  Surfing on the Batmobile? The Sydney grunge jazz scene has developed and refined itself and this recording now becomes the definitive sound. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="MichaelOcchipintiCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/MichaelOcchipintiCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Michael Occhipinti - The Sicilian Jazz Project (True North TND 516)</b><br> </font> </td> </tr> </table> Van Gogh created masterpieces from potato farming peasantry. Guitarist Occhipinti s use of peasantry is derived from 1950 s recordings by musicologists Alan Lomax and Diego Carpitella of traditional Sicilian folk music in a stunning adaptation by thirteen Toronto based instrumentalists. Vocalist Dominic Mancuso, who also has Sicilian heritage adds his husky lamenting cries most hauntingly on  The Sulphur Miners while Egyptian born vocalist Maryem Tollar broadens the fuse with  The Almond Sorters . This is a genuine World Jazz project with potent portions of improv but never loses sight of its island origins. The liner notes are insightful, informative and well written. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 09</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JimGallowayCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JimGallowayCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Jim Galloway s Wee Big Band - Blue Reverie (Sackville SKCD22068)</b><br> </font> </td> </tr> </table> If swing s your thing, don t miss this 2008 live recording from Toronto by a 17-piece Canadian ensemble. It has kept the spirit of the big bands alive for the past 30 years by stamping its own identity on some of the greatest charts ever written, all transcribed from the original recordings. Led by a swing-orientated soprano player, its strong solo roster (14 on this recording) keeps the music fresh without a hint of re-creation, whether it s the swinging ensemble work on Benny Carter s  Symphony In Riffs or Gerry Mulligan s slow but tender re-working of  If You Were The Only Girl In The World . <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight December 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="PatriciaBarberCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/PatriciaBarberCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Patricia Barber - The Cole Porter Mix (Blue Note 50999 5 01468 2 6)</b><br> </font> </td> </tr> </table> Barber s distinctive vocal style is definitely an acquired taste but she has outlasted most at Blue Note and this is probably her most surprising to date. Only three originals but the addition of the equally distinctive Chris Potter on saxophone provides the pepper that might otherwise have made this a bland affair. Her long time collaborators Neal Alger & Michael Arnopol are still providing the well branded contemporary rhythms. Some tongue in cheek moments such as  You re the Top should be taken only as light hearted necessity to the otherwise earnest attempt at new interpretation, which Barber achieves with uncanny serendipity <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight December 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DonBradenCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DonBradenCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Don Braden - Gentle Storm (HighNote HCD 7186)</b><br> </font> </td> </tr> </table> To his credit, the saxophonist has never excluded pop tunes from his repertoire, but always from a jazz perspective without compromise. He s enjoyed tenures with Wynton Marsalis and Betty Carter and I suspect it s his soulful sound that s sought after as a sideman. Unlike  The Real Quietstorm from another tenor lion born in the 60 s James Carter, there s a variety of weather conditions from sunny afternoons to gale force winds on his 14th as leader. Along with three originals, he covers  Never Can Say Goodbye from Jackson 5 fame, while a version of the 1953 classic  Secret Love is worth the price alone. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight December 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DaveHollandCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DaveHollandCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Dave Holland Sextet - Pass It On (Dare2 B001 1860-02)</b><br> </font> </td> </tr> </table> The bassist s compositions for sextet might be more accessible than the quintet but no less captivating. Counterpoint and harmonies shine amongst bouncy rhythms and breezy atmospherics, mostly in a post-bop setting. The three horns allow Holland to set melodies and/or improvisations for a single horn against the harmonic backdrop of the others and this becomes beautifully thematic. The highlight; a thirteen minute tribute to Sam Rivers which goes through several sections. Altoist Antonio Hart starts a fire before Eric Harland fans the flames of his cymbals into an Elvinesque inferno. Holland then douses with his dry woody sound before Robin Eubanks s trombone reignites the rage. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight December 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="AuntyRichardCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/AuntyRichardCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Aunty Richard - Leaf Blower (Jazzgroove JGR043)</b><br> </font> </td> </tr> </table> Grunge jazz is taking hold in Sydney. Aunty Richard, the brainchild of saxophonist Joel Woolf who spent some years in LA uses this debut as a reactionary exhibit of those years. Canberra based electric bassist Ben Rodgers plays a trebly five string giving the trio an extra guitar-like dimension, while drummer Tim Firth, renown for his forceful, relentless drumming becomes the ideal choice for this energetic concept. There is beauty and anger in the Woolf tone with technical facility to realise all his ideas. Electronic effects give a comic space age slant, while the repetitive riffs and short track length maintain accessibility. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight November 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="SteveTurreCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/SteveTurreCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Steve Turre - Rainbow People (HighNote HCD 7181)</b><br> </font> </td> </tr> </table> Turre sings with his trombone amongst a dynamic gathering including pianist Mulgrew Miller intricately knotting & untying on Turre s earthy blues tribute to Ray Charles  Brother Ray . Altoist Kenny Garrett & trumpeter Sean Jones alternate in the line-up with Jones providing some authentic Flamenco harmonies on  Lost in Madrid . With a title like Rainbow People, I expected robust regional specific rhythms but I love the subtlety in the diverse concepts of hard-bop, soul, Flamenco and Cuban all grafted from a post bop root. His customary conch shells are saved solely for the Cuban  Para El Comandante . This is possibly his finest release to date. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight November 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DaniloPerezCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DaniloPerezCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Danilo Perez and Claus Ogerman - Across the Crystal Sea (Decca 0060251764821)</b><br> </font> </td> </tr> </table> An Ogerman collaboration with the Pan-American pianist is about as natural as they come given his previous work with both Antonio Carlos Jobim and Bill Evans, but this is risky business for Perez whose robust post bop Latin style takes on calmer more lyrical waters. Ogerman is the guiding contributor, adapting scores from classical composers such as Rachmaninoff, Massenet, Manuel de Falla, and choral composer Hugo Distler into lush orchestral jazz with the help of Christian McBride and Lewis Nash. The sound-scapes conjure feelings of intrigue, mystery, humility, grandeur, wonderment and romance, especially on Cassandra Wilson s sensual  Lazy Afternoon . <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight November 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="SopranoSummitCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/SopranoSummitCD.jpg" width="210"> </td> </td> <td><font color="black"><b>The Soprano Summit in 1975 and More (Arbors Jazz ARCD 19328) </b><br> </font> </td> </tr> </table> This is a sparkling treasure chest of mainstream gems by one of the finest working jazz groups of the 1970 s selected from the archives of the New Jersey Jazz Society by Dan Morgenstern, director of the Institute of Jazz Studies. These were the so-called  fusion years yet the Soprano Summit of Bob Wilber and Kenny Davern was a mainstream-traditional group with a repertoire of pre-bop standards and obscure melodies such as the lovely Song Of Songs introduced in France in 1914. Both were masters of the clarinet and soprano saxophone and the intensity of their interplay added an excitement which few could match. In the company of guitarist Marty Grosz, pianist Dick Hyman, bassist George Duvivier and drummer Connie Kay they breathe new life and fire into old favourites like The Mooche and Swing Thirty Nine. To top it off there are tracks with Davern s Blue Three and a sublime meeting between Wilber and the great Ruby Braff. Marvellous stuff! <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin JOnes.<br><span style='font-size:7.0pt'>Previously published in Limelight November 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="TriodaPazCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/TriodaPazCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Trio da Paz and Joe Locke - Live At JazzBaltica (MaxJazz MXJ701)</b><br> </font> </td> </tr> </table> Formed more than 16 years ago, the New York-based group of former Brazilians combine the best elements of jazz and the samba with a virtuostic intensity. The addition of Joe Locke, one of the best of the today s contemporary vibraphone [players, only adds to the special chemistry created by guitarist Roberto Lubambo, bassist Nelson Matta and drummer Duduka da Fonseca as shown on this live recording from last year s Jazzbaltica festival at Salzau in northern Germany. Lubambo s lyrical acoustic guitar flows fluidly through Pron Flavio and Locke s vibes strike sparks on the driving Bachiao. This is jazz-oriented Brazilian music at its best. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin JOnes.<br><span style='font-size:7.0pt'>Previously published in Limelight November 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="WANGARATTA2008">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td><b>Wangaratta Jazz Festival 2008</b><br><br> The Wangaratta Festival of Jazz is surely Australia s Jazz heaven. Most events are of concert standard but some less formal even primitive performances are presented, such as Julie O Hara, a vocalist with a fine swinging style who also played faux cornet through her nasal passage at the Pinsent Hotel.<br> With Joe Lovano s Cologne concert in my headphones, it felt almost surreal gliding down the train line from Sydney passing the abandoned ram shackled sidings against the backdrop of tarnished Australian green pastures, some blanketed in lush lucern and daubed with granite boulder peaks, like whales breaching out of a purple sea. The further south though, the browner the landscape became, reminding me of these drought conditions still prevalent since my last visit in 06.<br> Saxophonist Gai Bryant formed a group she calls the  Spare Parts Orchestra but the members were certainly no spare parts; they are mostly among Sydney s finest, and deserving wider recognition. Saxophonists Craig Walters and Paul Cutlan, trumpeter Warwick Alder were amongst the ranks. Prominent New York pianist, composer and arranger Jim McNeely opened the Jazz Festival using this Orchestra, with a Jimi Hendrix tune of all people, proving that Big Band music can be wonderfully interpretive. His arrangements were spatial and at other times like gusty sheets of rain. In staggered sequence, sections were further sectionalized sometimes into flugelhorn, trumpet and muted trumpet parts for example, with the traditional solo s flying high above from the likes of trombonist Lucien McGuiness, Walters, and other saxophonists Roger Manins, Andrew Robertson and Bryant herself. A highlight was McNeely s tribute to Mel Lewis simply entitled  Mel . A feature for drummer Andrew Dickeson, whose chart called for a series of melodic colours rather than rhythmic patterns, which were in turn echoed back by the horns in similar figures. McNeely re-arranged a piece by Renee Rosnes entitled  In this Moment and his right hand descending runs seem to pick up momentum like droplets down a window pane. His own piece  Absolution was based on himself as a young Catholic boy growing up dealing with the burden of guilt on his conscience. I found the lone singular horn voices crying out against the full sectional passages deeply personal as if they were protesting against a larger more infinite voice. McNeely s other originals included  Touch with a lengthy solo piano introduction before morphing into a township African feel that could have been inspired by Dollar Brand, while in global economic uncertain times  Extra Credit had urgency with a subtle backbeat groove but certainly not the chaos of a dealing room.<br> The young Finnish group Ilmiliekki Quartet, which means - staring at a naked flame, wowed audiences with their youthful spirit and ensemble interaction, playing a Tom Waits cover and originals from the trumpeter Verneri Pohjola. While he may not have the sheer  in your face power of a Scott Tinkler, he employed striking sonic techniques, seamlessly moving from sounds ranging from the alphorn to a bass flute and even electronic sounds. A foggy image was felt by his breathy use of air through the horn but at a turn morphed the sound into magnesium brightness. The element of surprise in Pohjola s trumpet playing alone maintained undivided attention.  Hot Chick had a single note groove/beat. Block chords predominant in Tuomo Prattaia s piano solo briefly turned into a war cry and then retreated back into the single note. I found their interpretation of Ornette Coleman s  What Reason Could I Give? refreshing and respectful even when Pohjola played his trumpet into the grand piano. He paused and waited for the resonating distant echo to give him further inspiration. While the Fins varied their emotional and energy levels to striking affect, David Murray s Black Saint Quartet maintained a ferocious 13 rounds in the ring of the replacement marquee venue.<br> Apart from the poignant protest song  Banished where Murray s bass clarinet took on his trademark percussive plugs, all other pieces were played with an exhausting energy but for most part remained utterly captivating. The last time I witnessed Murray was in the context of his Octofunk (a band that once opened for the Grateful Dead) at the Quasimodo club in Berlin back in 1994. The capacity of the now 53 year old does not seem to have diminished. As always, I m expecting someone to hand him an alto or soprano such is his upper register persistence. But that is the Murray sound, and while his lower register sound seemed less defined, which could have been due to my seating position, upper register shrieks were just as thrilling as I remember in Berlin. Murray uses all his physicality on his instruments. His head turned from side to side as if he was brushing his teeth, creating vibratory tones, then he mutes the horn with his knee in the fashion of our own Tony Gorman. There were mixed reactions to this performance but for the ones who love unrelenting energy, they were not disappointed. Jaribu Shahid s dreads may just be as long as his double bass strings which were giving him some tuning frustrations. Nevertheless his plucky double time playing in the middle and lower registers was a refreshing foil against Murray. Pianist Lafayette Gilchrist was significantly more fluid and muscular on Saturday than the Friday night s performance. The long solos from this group were a testament to their ability to maintain creativity for extended periods. Almost constant circular breathing gives Murray an edge to his melody lines. He achieves that similar goal that Frank Sinatra strived for when influenced by Tommy Dorsey; the uninterrupted flowing melody. He displayed a level of virtuosity difficult to better at this festival, although one Sydney tenor player I spoke with found him repetitious when compared to Joe Lovano and to a certain extent I agreed as Monk s  Lets Cool One became lost in David Murray s solo.  Murray Steps was his dedication to John Coltrane, but the bass was distorted at the marquee stage. Fortunately it was rectified for Matt Penman s amped up sound for John Scofield.  Sacred Ground from the album of the same name re-arranged without the vocals of Cassandra Wilson became a major solo piece for Gilchrist who employed Bach like block chords and clever phases where his left hand bass lines faded up and back in the mix.<br> The best sound achieved in the Cathedral this year save maybe Mike Nock solo, was the soprano saxophonist Fiona Burnett & percussionist and marimba player David Jones. I was concerned when I saw his exaggerated drum kit in this sound bouncing space complete with ceramic tiling on the vaulted ceiling, but Jones tastefully reigned in his sometimes explosive approach using only brushes and mallets to heavenly, ethereal and meditative effect against the sometimes  Eastern sounding soprano.<br> The Impressions trio with Bob Sedergreen piano, Ted Vining drums and Michael Meagher replacing the late Barry Buckley was a sure fire crowd favourite. The empathy between Sedergreen and Vining is quite extraordinary and allowed them to almost intuitively swell and retreat the intensity like a tidal flow, during the theme from the nose wiggling television programme  Bewitched .<br> I had never witnessed Megan Washington perform live before and my initial thought brought to mind memories of a London performance by Swedish pop/jazz/sex kitten Lisa Ekdahl. But she is so much more than Ekdahl. She might have a limited range but her Doris Day like tone, coupled with her intriguing original compositions left everyone impressed. At times her recital singing style with questioning lyrics, were punctuated by a series of breathy percussive exhales. Her performance was embodied by rock and pop sensibility, but with the complexity of contrasting harmonic lines and time changes. The highlight  Leaving Home saw both Washington and pianist Paul Grabowsky vacate the stage to leave saxophonist Jamie Oehlers, trombonist Shannon Barnett and guitarist Steve Magnussen in a raging firestorm lit by drummer Niko Schauble.<br> Off to  Blow and rather than striking one, I took time out to gaze at the fluffiest white clouds symmetrically dotting the bright blue sky, something we don t see too often in Sydney. Blow is a band that defies categories. Bob Sedergreen alternated between Roland RD 300 and piano rendering post bop, avant-garde and fusion. Their dual bass performance included two tributes;  Buckle Up dedicated to the late bassist Barry Buckley and  And Heaven Called for trombonist Simon Kent which was a mournful yet celebratory piece. Despite the distorted bass sound on the Jazz on Ovens stage  Living and Dying had a spiritual feel about it while Peter Harper s alto used some of British saxophonist Courtney Pine s shimmering techniques.<br> Bernie McGann appeared with his  new Quartet made up of Andrew Dickeson drums and Brendan Clarke on bass replacing the Waples brothers with the perfect foil Warwick Alder utilizing his trademark  Hubbardesque exclamations. They played amongst others  Memories of You and it was clear that Andrew Dickeson was in his element in this setting.<br> I finally found some Hard Bop in the Craig Scott Quintet performance but sadly a little flat despite the distinctive Australian voices in Paul Cutlan, saxophones, Craig Scott bass and Warwick Alder trumpet. Generously presenting music by such deserving artists as Australian pianist based in New York Cathy Harley (Criss Cross) trombonist Peter Trotter, pianist Jan Rutherford (Mr Visa Man) and Alder, the latter s  Bix Blues supersized by monster drummer Tim Firth. Alder proved he is still one of the great Australian improvisers building, demolishing and renovating during his solo.<br> By nightfall I was looking for some mental relief but I ended up with the  Heebie Jeebies thanks to the  Crescent City Serenaders . Half this lineup looked under 30 years of age. Who said New Orleans music is dying? I enjoyed their take on the old chestnut  Isle of Capri .<br> The violin as a vehicle for atonal improvisation is an acquired taste and I m afraid my resistance wasn t worn down by my persistence at the Antripodean Collective performance with John Rodgers on violin. Nevertheless, it is said, the power of Louis Armstrong s playing, the sheer volume un-amplified, could be simply overwhelming. Our own trumpeter Scott Tinkler may be one of a select few capable of playing articulately with this kind of startling force.<br> Then it was down to the Pinsent Hotel for a truly multicultural band based mainly in Barcelona  Los Krokodillos whose version of the gospel  Just a Closer Walk with Thee included a new additional chorus backing vocal line  Walkin with my Jesus - Talkin with my Jesus . Amen.<br> Trio Apoplectic own a special brand of chamber jazz and improvised music in this country. Made up of Dave Jackson alto, Alex Masso on drums and Abel Cross bass, they performed originals with slow tempos and lean bass sounds. Jackson created intriguing and curiously satisfying patterns against the bass, allowing the alto to sound like itself, never stretching the instrument to its limits; an approach I likened to Paul Desmond. There are no egos in this band. During the piece  Transition , Cross had his bass sounding like the shifting of deep sea wreck. In contrast to the restrained collective sound of Trio Apoplectic, the John Scofield/Joe Lovano Quartet ramped up the volume considerably and performed largely the identical repertoire of their recent Sydney Opera House concert. <br> As great as these two giants of the jazz world are I found individuals just as impressed with the bass of Matt Penman and the drumming of Matt Wilson. Lovano s  Fort Worth improvised opening made way for some bedrock bass playing from Penman whose style may have lacked the delicate finesse of a Dave Holland but compensated in hard driving propulsion with the fattest of groove. What s more he makes it look easy! Lovano played  Big Ben on both dates with the twin barreled, polyphonic, soprano Aulochrome horn; an acquired taste. John Scofield used much of the facility in his armory but was sparingly discerning in his use of pedal effects, at times creating wild pistol fire ricocheting around the tent like the set of a western movie. There were some very special moments like Matt Wilson s measured conversational solo introduction to one piece and John Scofields intro to  I don t stand a Ghost of a Chance with you . Miles Davis s  Budo the only addition to the repertoire, saw the pair trading fierce but inventive blows. Vocalist Katie Noonan, who only recently recorded with these pair along with Ron Carter and Sam Keevers in NYC on the rapidly released Lennon /McCartney tribute  Blackbird , joined the band for a fitting encore.<br> In my opinion Michelle Nicolle (1998 winner of the National Jazz Award) has been and still is the best Australian jazz vocalist. Her repertoire consisted of challenging jazz standards such as Monk s  Mysterioso and Horace Silver s  Lonely Woman . Her voice has taken on buttery burnt toast characteristics in the lower register while she has lost little of her operatic high register. Silver s  Lonely Woman was given a slower tempo for a more haunting interpretation than DD Bridgewaters 1995 tribute recording of this vocal rarity. Nicolle played the trombone subconsciously with her voice and her flow of scatting ideas remains as unpredictable as ever. Combine this with a clear instrumental scatting intent, a cleverly effective microphone technique and the morning audience witnessed vocal jazz artistry. Given she only had 3 ½ hours sleep, the night before and her performance scheduled at bird s twit for a musician (11am), this was quite a performance.<br> Peter Knights  Way out West was the clear instrumental highlight of this year s festival. This band has a truly innovative instrumentation line-up and they have created a new fuse of Vietnamese and West African sounds capes, mixed with the blues soaked tenor and baritone saxophones of Paul Williamson. All selections were taken from their Jazzhead album  Old Grooves for New Streets suite and compositions. Williamson and Knight sounded the sirens in this street and interestingly, I found the bass low in the mix with no detriment to the groove whatsoever. Sri Lankan Ray Pereira played congas, djembe and the Ghanaian talking drums. The third movement in the suite had the group in tribal celebrations trapped in a tropical rainstorm via Dave Beck s teaming cymbal work and Dung Nugyen s  touch typing technique on his modified electric guitar. He also played the Vietnamese Dan Bau which at times sounded like a slide guitar or pedal steel. Put simply, each piece evolved into a hypnotic groove that made me want to dance. In this way I guess it reminded me of one of the main reasons jazz ever existed. But there was no dancing at  Wang . Imagine the reaction from the jazz cognoscenti! I recall some infectious dancers at an early 1990 s Bellingen Jazz Festival, including journalist John Clare, dancing to the sounds of the collaborative group  Lustzone (Wanderlust and Clarion Fracture Zone). Why not let your brain and your body enjoy the sound?<br> The bassist Jonathan Zwartz brought the piano trio with the pop/rock sensibilities of groups like The Bad Plus and  EST to Wangaratta with  Soundgun ; joined by Tom O Halloran on piano and Evan Mannell on drums. Mannell sometimes used his wedding ring on the rims harnessing a controlled groove rather than the grunge approach of his other trio settings. It was refreshing to see Zwartz in a lead role and performing his own tunes rather than his usual  ever reliable side man role. A judge in this years National Jazz Awards, Zwartz remains one of this countries best bassists, striking notes with acute definition and dexterity. The position of the grand piano at St Patrick s Hall was perfect to give the audience full view of the nimble right hand treble work of O Halloran. <br> Dale Barlow said of his new band  I formed this group because they are all great musicians ; Bobby Gebert piano, Bernie McGann alto saxophone, Ben Waples bass and Dan Waples drums. These days it s rare to hear McGann in a sideman role but he makes a contrasting foil for the more powerful Barlow and contributed  D Day a tune in the great bop tradition. Barlow s  Breathing Room sounded like it was based on the chords of  Sweet Georgia Brown while other new tunes included  New Phoria and Geberts tribute  Dales O s Dance . The marquee had a capacity of over 700 but it was probably never over two thirds full which I found quite remarkable given the stature of these musicians and the number of genuine performing opportunities they get in Sydney or Melbourne.<br> Kerrie Simpson s band was probably a poor choice for the Cathedral where larger complex sounds bounce around and become muddy. However considering the festival was one venue down this year due to the demolition of the Town Hall and the Playhouse and the construction of the new Performing Arts Centre, there was bound to be at least one disappointment. Trying to achieve a Harlem Baptist jubilant feeling here was nearly impossible. We just don t react this way and we re not a particularly rhythmic audience either it seems. Her valiant attempt at audience participation fell on deaf ears.<br> The Paul Grabowsky Quintet featuring Joe Lovano was a chance to re-visit some of those challenging and yet wondrous pieces recorded in New York by Grabowsky, Tinkler and Lovano on  Tales of Time and Space . Interestingly, Lovano did not look as engaged with this band as he was with John Scofield. A good example of Tinkler s  machine-gun like attacks and tremolo effects were during his solo on  Reason and Rhyme . Tinkler again produced some luminously glowing notes on  Circle of Trust , while on  Tailfin his sound bubbled like boiling water and after a collective barnstorm of improvisation by Lovano and himself, somehow they managed to instinctively pause in perfect unison. It was one of those special  Hole in One jazz moments. Bassist Phillip Rex s muscular whipping solo on  Updraft was also a highlight. Vocalist Katie Noonan was again in town for the encore performance. Noonan abandons lyric definition or articulation and uses her voice as an instrument of pure angelic sound. For that reason alone, she must be considered a legitimate jazz singer. Lovano s tenor picked up Noonan s last note and the shift was almost seamless; another special moment!<br>  Vada was one of two groups pianist Aaron Choulai assembled for this festival. The trumpeter Eamon McNelis had a plastered broken left wrist and was bravely resting the horn on his cast. I don t know why but he reminded me of Ned Kelly bracing himself and his heavy gun with a kind of plaster armour. Like Choulai s baseball cap, Vada s sound is radically  off-centre but beautifully textural from densely wooded forests to deserted streets. Soft deft touches from Choulai s caresses to masses of scattered splashes from drummer Rory McDougall dissolved the deep grooves into fragmented shards. And I wondered why have I had not heard of tenor player Carlo Barbaro before! What a mountainous sound!<br> Phil Stack won this years National Jazz Awards for bass using amongst three pieces, a blues created only on the Sunday morning entitled  Mullet Blues dedicated to guitarist James Muller. The other finalists to achieve second and third were Ben Waples and Sam Anning respectively. I don t have a problem with jazz in this case being  sport like in a competitive nature. After all I ve always regarded test cricket as an art-form. Following this sweating it was time to check out the easy swinging style of vocalist Julie O Hara. She endears her audience with a beautiful smile and superbly crafted lyrics to jazz classics like  Society Red by Dexter Gordon,  Mona s Mood by Jimmy Heath,  Four Brothers by Jimmy Giuffre and  Spontaneous Combustion by Cannonball Adderley.<br> Meanwhile the formidable Victorian Police Show band presented some uniformly swinging big band on the free Reid Street stage with Count Basie s  Wind Machine and Oliver Nelson s  Emancipation Blues .<br> While Aaron Choulai treated the audience with about as much indifference as a 06 Elliott Dalgleish, his knack of re-focusing absolute attention with his solos coming off the blocks at pianissimo level was just mesmerizing. His rhythms shunted like coal train carriages but with the momentum of a large container ship leaving shore. As with one of Vada s pieces, the loping bass line somehow morphed into a stagger before finally tripping over in a strangely structured way. This was one of the few Australian bands that were begged for an encore and he obliged saying  You re all Sick in a tongue in cheek kind of way. Saxophonist Carlo Barbaro arrived back on stage with a party nail through his head.<br> This was also the first time I d witnessed the St Patrick s hall filling tenor sound of Zac Hurren who played significantly off mic. He has a dancing style and the power or a younger Sonny Rollins. During an opening soliloquy he used fingering patterns that created that grinding metallic multiphonic effect heard on his Jazzhead recording  Exordium , while Sam Bates on drums plays with monumental power and conviction. Hurren paid homage to his mentor, saxophonist, composer and educator the late Tony Hobbs with a piece entitled  Conveyance .<br> In a stunning coup for the festival, John Scofield agreed to join Sydney s most promising guitarist James Muller on the marquee stage that had the expectation of a prize heavyweight fight. Fortunately there were no casualties and while it was an entertaining bout, it is questionable as to whether it reached the levels of expectation afforded it. To be sure, Scofield played with the greater inventive melodic prowess, while it might be argued that Muller displayed a more nimble technique and relaxed style. It was certainly a spectacle that transformed bop favourites like Denzel Best s  Wee and Charlie Parker s  Billie s Bounce into virtual R n B anthems thanks to bassist Matt Penman s fat groove. Scofield seemed genuinely challenged by Muller s  Beethoven , a track recorded in New York City and available on his Birdland release  Kaboom . In contrast Muller seemed quite at home with Sco s  Everybody s Party . I ll confess guitar is not my first choice so I found Penman s contribution and Ben Vanderwal s double sweeping drumming action just as fascinating as the two guitar virtuosi. </td> </tr> <tr> <td align="right"> by Peter Wockner. </td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="StanGetzCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/StanGetzCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Stan Getz - The Bossa Nova Albums (Verve 06025 175 496 92) </b><br> </font> </td> </tr> </table> Stan Getz s melodic gifts have been rarely sounded better than on the Big Band Bossa Nova set with arranger Gary McFarland, one of five albums from 1962-63 now reissued in their entirety. McFarland sparingly uses the ensemble allowing the beauty of the solos and the music to take centre stage. Getz, who once described himself as  just a melody player , is superb showing again his special affinity with the bossa nova, a synthesis of samba rhythms and sophisticated jazz harmonies. Here he is at the height of his creative powers, his flowing lyricism almost songlike as if he were singing through his horn. Only a few, notably his idol Lester Young, had this gift. The melodically lovely and subtly swinging setting found Getz at his most tender, his floating improvisations opening out like the petals of a flower in the sun. The albums are scattered liberally with musical gems - the haunting  Baia from Jazz Samba where Getz and Charlie Byrd s guitar blend so beautifully; the Getz-Gilberto collaboration on  The Girl From Ipanema which still holds its charm although it pales besides Getz s fire and drive on the exciting  So Danco Samba and the tenderly lyrical  P ra Machucar Meu Coracao . Both Getz and the music sound even better today than when these albums were first released. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight October 2008</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="WillieNelsonCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/WillieNelsonCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Willie Nelson and Wynton Marsalis - Two Men With The Blues (Blue Note 50999 5 04454 2 4)</b><br> </font> </td> </tr> </table> Few would remember Louis Armstrong s 1930 recording of  Blue Yodel No.9 with Jimmie Rodgers but I suspect this was the catalyst for the unlikely, but so successful pairing of the urbane Wynton Marsalis with the grizzled country music legend Willie Nelson at New York s Jazz At The Lincoln Center last year. Marsalis poised trumpet contrasts with the dustiness of Nelson s guitar as, backed brilliantly by Marsalis crack quartet and Nelson s long-time harmonica player Mickey Raphael, they find common ground in the blues. Each track is a standout with an intimate  Georgia On My Mind topping the bill. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight October 2008</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="AaronWeinsteinCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/AaronWeinsteinCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Aaron Weinstein and John Pizzarelli - Blue Too (Arbors ARCD 19355)</b><br> </font> </td> </tr> </table> More Joe Venuti and Eddie Lang than Stephane Grappelli and Django Reinhardt, the phenomenal Aaron Weinstein shows the art of the hot jazz violin is alive and well in these fascinating duets with guitarist John Pizzarelli. However, it s the spirit of the late Hezekiah Leroy Gordon Smith, better known as Stuff, which hangs over this joyful 2007 session. The 23-year-old Weinstein has Smith s blazing attack with a pizzicato to match and in Pizzarelli, a master of the unamplified acoustic guitar, he has the ideal partner as they challenge and surprise one another in a mix of swingers and ballads. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight October 2008</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="ManlyJazz2008">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td><b>Manly Jazz Festival 2008</b><br><br> Hampered by less than favourable weather conditions, jazz fans had to wait until Monday until performances moved out of first gear. Jeremy Borthwick s Exposed Bone and the Gerard Masters Trio finally sparked some ignition and intensity into the outdoor event that weathered all seasons during each of the three days.<br> The Manly Jazz Festival, now in its 31st year is tiring and is in need of a complete overhaul in it s artistic direction and how the event operates across Manly over the Labour Day long weekend if it is to continue into the future. Support from the jazz and improvised music communities for this event has declined it seems, in correlation with the number of quality jazz/improvised performances in recent years. Poor ticket sales for the highlight event Andrew Speight s tribute to Charlie Parker with Strings is evidence of this. Not to mention the festival program guide which lacked detail and failed to ignite any interest in the artists. In what seems to be a commercial reality each of the stage s presenters seem to be better versed in sponsorship announcements rather than the artists they are supposed to be introducing. Barry Crook especially comes across as being overly blase. Furthermore, the decision to relegate the student bands to a stage within the grounds of the local school had more than the obvious implications for the jazz artists of the  future .<br> Although unsettled weather had been predicted from as early as Monday 29th September, there were no marquees or alternative wet weather venues arranged.<br> As a result, Saturday s spirited performances by Warwick Alder, Lily Dior, Jane Irving and Adrian Cunningham were all well received by keen but unfortunately small audiences.<br> The festival receives little support from local businesses and potential venues which invariably profit quite significantly from the leisure seeking crowds that flock to Manly for the spectacle rather than the music. The potential for smaller venues to become involved with ticketed events of greater intimacy seems unlimited however NSW licensing laws are probably still smothering such opportunities.<br> What should have given this festival some hope and an interesting beacon for it s artistic directors was the rapturous audience applause given to Exposed Bone led by the joyously rollicking trombone of Jeremy Borthwick, the cutting and swathing guitar of National Jazz Award winner Aaron Flower, the omnipresent bassist Brendan Clarke and the distinctively but intricate rock-like approach from drummer James Hautpmann. Similarly, the Gerard Masters trio added an intensity that the Monday audience seemed to be yearning for, performing pieces from his latest album Pendulum which included lengthy portions of both melody and creative improvisation. </td> </tr> <tr> <td align="right"> by Peter Wockner. </td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="NeilsenGoughCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/NeilsenGoughCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Neilsen Gough - A Beautiful Dream (KI Entertainment NGCD003) </b><br> </font> </td> </tr> </table> What do Chet Baker, Vince Jones, Till Bronner and Neilsen Gough have in common? They all sing and play horn very well. Gough has a vocal tone in the realm of a breathy Buble, but other times like early Jones and occasionally borrows from the occasional casting trait of Elling s phrasing. I recall his 2005 performance at the Manly Jazz Festival as one of the Sunday s highlights due to his appealing originals and willingness to tackle lesser known material. This is a concept stock of his own love ballads and easy sambas but I was hoping for greater variety in textures and themes. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight October 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="ManuelMengisGruppe6CD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/ManuelMengisGruppe6CD.jpg" width="210"> </td> </td> <td><font color="black"><b>Manuel Mengis Gruppe 6 - The Pond (Hatology 659)</b><br> </font> </td> </tr> </table> Strangely, a recent visit to Sydney s Botanic Gardens duck pond put the Swiss trumpeter s original compositions into greater perspective. His second album as leader features only four tracks but each has the twists and turns of a masterful epic in the numerous rhythm changes and mood swings. Roland Von Flue s bass clarinet becomes part of a water bird habitat with honks and squawks amongst the splashing counterpoint and rippling grooves, while Mengis often takes the atonal flight, squeezing possibilities rather than surety from his trumpet. The piano-less contemporary instrumentation includes Flo Stoffner s sometimes Frisell-ish guitar and Mareel Stalder s melodic rather than thumping electric bass. Constantly compelling storylines call for heavy arrangements but they also allow for sub-contextual soloing by all three horns and guitar. Drummer Lionel Friedli provides some forceful rhythm and some feather-like cymbal work on the 18 minute journey Hide and Seek. One of the best this year. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight October 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="BrianBladeCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/BrianBladeCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Brian Blade & The Fellowship Band - Season of Changes (Verve 0602517610477)</b><br> </font> </td> </tr> </table> The instantly recognizable influences of Coltrane/Tyner and the melting pot of New Orleans funk combine with the spirituality of the drummer s origins in the Zion Baptist Church. Long time collaborator & keyboardist Jon Cowherd provides the tolling Tyneresque back-drop especially on the musical parable  Return of the Prodigal Son with Rosenwinkle s authoritative guitar. The concept extends on  Omni when Melvin Butler s tenor briefly finds that promised land while Myron Walden s bass clarinet finds solemn space in another chapel. The most precious one is of same name where Cowherd, Blade and bassist Chris Thomas construct a spare melody and segue to some grungey but uncluttered funk. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight October 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="WycliffeGordon">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td><b>Wycliffe Gordon Sound Lounge - 9th Oct 2008</b><br><br> <b> John Harkins  piano<br> Brendan Clarke  bass<br> Andrew Dickeson  drums<br> Wycliffe Gordon  trombone<br> Mike Kenny  trumpet<br> Jason Morphett  tenor and soprano saxophones<br><br> Bone Practitioner works the Lounge<br><br></b> Wycliffe Gordon has been visiting Australia since 1990 mainly with bands led by Wynton Marsalis. It should come as no surprise then that his affinity with Australia extends to playing the didgeridoo, although we didn t see this part of his repertoire during his Sydney performances.<br> Two sets were played at the Sound Lounge and each quite distinct in their jazz flavours. The John Harkins trio opened the first set prior to the Georgian taking the stage and announcing Dizzy Gillespie s  Blue n Boogie . The surety of his notes was immediate, taking up the last phrase of the Harkins solo and immediately firing elements of his vast arsenal. The art of call and response featured heavily in his solo using fluttering phrases by tonguing the mouthpiece at a rapid pace sometimes sounding like an imaginary melodic washboard.<br> Next he introduced the idea of the touring muso and fantasy while on the road. Fats Waller wrote the piece  I m Gonna Sit Right Down and Write Myself a Letter and as a spur of the moment decision, he called the intro as trombone and bass at a ballad pace. His quaint but almost shy or apologetic singing style is quite a contrast to both his horn playing and that other inspirational trombone playing vocalist, Frank Rosolino. He articulates a lyric by sometimes over-emphasising the consonant to an Australian ear but that probably adds another rhythmic dimension to his phrasing.<br> Fortunately the audience didn t take his song choice personally because  I Can t Get Started (with you) and his own original  ShShSh the Band is trying to Play certainly did not reflect the level of audience respect at the Sound Lounge on this occasion. They were with him from the opening bar. His silken smooth solo on the former using a mute and cup could easily have been Tommy Dorsey had you closed your eyes.<br> Ray Noble s  Cherokee opened with an overly exaggerated dirge pace so few were surprised when his trombone exploded with a machine gun like tempo using multi-phonics and at times creating a melodic distortion that sounded like a trombone on a radio station not quite tuned in; then like an instrumental version of Clark Terry s vocalised  Mumbles ; then like a didgeridoo; incredibly effective.<br> Taking the stage for the second set was trumpeter Mike Kenny and saxophonist Jason Morphett. My hesitation at this mix was soon put to rest by the passion and emotion in their playing, even if clearly their facility did not reach the technical heights of the American. They drenched the charts which were mostly arranged by Kenny for the second set, and seized the opportunity to share the stage with one of the instruments modern day greats.<br> Opening with  Autumn Leaves , the band relaxed into a comfortable hard-bop feeling, using the traditional head-solo-head formula. WC Handy s  St Louis Blues was given a contemporary arrangement by Gordon, but soon moved into a Cuban territory with Harkins stirring up images of Chucho Valdes, encouraged by Andrew Dickeson s perfectly timed cow bell. Much to Jimmy Shaw s delight, they then returned to a Preservation Hall New Orleans flavour. Both  The Nick of Time and  Savannah from the pen of Gordon, the latter a pop ballad with a soft backbeat broke up the standards repertoire prior to more Kenny arrangements of  You and the Night and the Music and  Alone Together . </tr> <tr> <td align="right"> by Peter Wockner.</td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="CassandraWilsonCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/CassandraWilsonCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Cassandra Wilson - Loverly (Blue Note 50999 5 07699 2 6)</b><br> </font> </td> </tr> </table> Of today s major jazz vocalists, Cassandra Wilson is probably the only one primarily influenced by the blues, a legacy of her childhood in Jackson, Mississippi immersed in the Delta sounds and soul music. It shows in her highly personal style, the smokey-honey voice reinventing and changing tunes as a Billie Holiday, Sarah Vaughan or Betty Carter would. Noted in more recent years for interpreting original music and unusual covers, she returns to where she started with Blue Skies 20 years ago; an album of standards. Recorded in a rented house in her hometown, she combines the West African rhythms of Yoruba percussionist Lekan Babalola and pared back charts with the stellar talents of Lonnie Plaxico (bass), Jason Moran (piano) and Herlin Riley (drums) in a nearly perfect album. Spine tingling duets with Sewell (Spring Can Really Hang You Up The Most) and bassist Reginald Veal (The Very Thought of You) and a percussive Caravan show why Wilson remains in a class of her own. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight September 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <tr> <td><A NAME="JudyCarmichaelCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JudyCarmichaelCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Judy Carmichael - Southern Swing (www.judycarmichael.com) </b><br> </font> </td> </tr> </table> Yes Virginia, jazz can be fun and entertaining without sacrificing excellence, swing and style. The proof, if needed: American stride pianist Judy Carmichael in prime form with two of Melbourne s finest, Stephen Grant (cornet) and John Scurry (guitar) at the 2007 TAC Wangaratta Festival of Jazz in north-eastern Victoria at the first of her two sell-out concerts captured on disc from an ABC broadcast. Hearing the music again, reminded me just how good it was _ venerable tunes transformed by the cheerful openness of her playing, the attack rhythmic and vigorous, and Grant and Scurry excelling on the ballad Crazy He Calls Me. A wonderful memento of a special occasion. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight September 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <tr> <td><A NAME="ScottRobinsonCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/ScottRobinsonCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Scott Robinson Plays the Compositions of Thad Jones - Forever Lasting (Arbors Jazz ARCD 19276)</b><br> </font> </td> </tr> </table> No other jazz musician today has such a wide battery of instruments, many of them rarely heard since the 1920s, than the versatile Scott Robinson. He is the master of them all from brass (echo cornet) to reeds (C melody saxophone), the obscure (theremin) to familiar (tenor saxophone). Fourteen are played on this intriguing and adventurous tribute to the sublime talents of the legendary big band trumpeter, composer and arranger Thad Jones. In Robinson s hands the usually cumbersome bass saxophone becomes supple (TNA Blues); on tenor, he sensitively duets with pianist Hank Jones on All My Yesterdays; and with Mike Le Donne s Hammond B-2 organ adds soul to Three and One. Remarkable. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight September 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="AndrewRobsonTrioCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/AndrewRobsonTrioCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Andrew Robson Trio - Radiola (Lamplight Records LLR00208) </b><br> </font> </td> </tr> </table> Not ideal for insomniacs. The infectious Transylvanian flavoured blues, Big Ben for Bennie Wallace was still spinning around in my head at 2am in the morning. Robson plays alto, soprano & recorder on this 2005 trio recording featuring Steve Elphick (bass) and Hamish Stuart (drums). From Irish piper on recorder to Middle Eastern trance on soprano with clear influences from Bernie McGann s upwardly truncated spirals, coupled with his own rapid fire discharge of ideas abundant, Robson has produced an amalgam of vast breadth. Robson s original melodies are doubly effective when played in unison with Elphick s warm bass tone. Exquisite. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight September 2008</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="WallaceRoneyCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/WallaceRoneyCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Wallace Roney - Jazz (High Note HCD 7174)</b><br> </font> </td> </tr> </table> After 17 years, Roney is still blowing away the cobwebs of his close association with Miles in his twilight years. The virile attitude embedded in his music remains, despite the presence of the fleetingly fingered Geri Allen on piano and the contrasting placid tenor of his brother Antoine whose contributions on soprano and bass clarinet I found more contextual. Roney s trumpet remains ferocious, but his darker choices during improvisation never fail to conjure images of Davis. I liked the addition of tabla and the DJ s ultra-contemporary effects despite the customary scratches and in-audible preaching. A hard swinging highlight is Bud Powell s Un Poco Loco. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight September 2008</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="HarryAllen1CD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/HarryAllen1CD.jpg" width="210"> </td> </td> <td><font color="black"><b>Harry Allen & Joe Cohn Quartet plus guests John Allred and Scott Hamilton - Stompin The Blues (Arbors ARCD 19353)</b><br> </font> </td> </tr> </table> Harry Allen, a master interpreter of standards, has been called  the Frank Sinatra of the tenor saxophone . Although born in 1966, his style is based on the classic swing of the masters yet his post Getzian warm and soulful sound is fresh and resourceful. And can he swing! Hearing him in full cry on the title track, his endless flow of inventive ideas spurred on by the rhythmic edge of the rest of the quartet he co-leads with guitarist Joe Cohn, I was reminded of Zoot Sims. There can be no higher praise. As for balladeering, listen to him on the spring medley (It Might As Well Be Spring and Spring Is Here) with the elegant trombone of John Allred, one of the best on the instrument in jazz today. It doesn t get any better. And one mustn t forget the London-based Scott Hamilton, 12 years Allen s senior and his idol as a teenager, who guests on three tracks. Listening to this, it s hard to believe Hamilton s saxophone was badly damaged in transit, yet you wouldn t know it, he blows superbly <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight August 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="MontyAlexanderCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/MontyAlexanderCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Monty Alexander - The Good Life (Chesky SACD340)</b><br> </font> </td> </tr> </table> Jamaican pianist Monty Alexander takes a welcome break from exploring the reggae music of his homeland to interpreting some of the melodies associated with the crooner Tony Bennett. And those familiar with Bennett s exemplary taste, except when pressured by populist record executives, as he was early in his career, will know these are timeless songs. Backed by the Chicago-based pair, veteran drummer George Fludas and bassist Lorin Cohen, Alexander, at time elegant at others energetic, is in fine touch.  Maybe September is lightly tinged with bossa nova rhythms,  I Wanna Be Around shrouded in the blues and  Emily tenderly caressed. Recommended <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight August 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="Wanderlust1CD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/Wanderlust1CD.jpg" width="210"> </td> </td> <td><font color="black"><b>Wanderlust - When in Rome (Rufus 1353428) </b><br> </font> </td> </tr> </table> Imagine an Italian summer sky at Villa Celimontana adjacent to Il Coloseo witnessing Australia s now legendary group Miroslav Bukovsky s Wanderlust. Admittedly, the sound quality is not at levels expected for live recordings these days (the sound engineer simply pressed record just in case) but the result, in this inspired setting, was a performance too good not to release. Wanderlust s standards are always lively but there are tender moments especially Alister Spence s intro to the wonderful melody Delicatessence and one produced by the reunion of former bassist now New Yorker Adam Armstrong in dialogue with guest oud player Joseph Tawadros on Dakar. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner<br><span style='font-size:7.0pt'>Previously published in Limelight August 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="CatherineRussellCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/CatherineRussellCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Catherine Russell - Sentimental Streak (World Village 468075) </b><br> </font> </td> </tr> </table> Daughter of ex-King Oliver and Armstrong pianist Luis Russell, Catherine s voice embellishes each (single take) tune with the characteristics of it s own genre from New Orleans dirge, the blues, ragtime and traditional jazz, then adapts readily to more contemporary tunes like Sinatra s  South to a Warmer Place and her own  Luci  . You can hear the smile on her face due to some cheeky lyrics and the obvious enjoyment of earthy, swinging playing behind her including Steven Bernstein s trumpet. She s worked with artists like Paul Simon, Cyndi Lauper and David Bowie but her New Orleans roots are exposed here. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight August 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="YuganautCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/YuganautCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Yuganaut - This Musicship (ESP-DISK ESP 4044) </b><br> </font> </td> </tr> </table> The sound-scapes are many and varied from this NY trio utilising 24 diverse instruments plus voice but mainly moog (Stephen Rush), bass and drums. The opener  Running emerges like the sound of a distant but imminent stampede and indeed drummer Geoff Mann extracts some elephant-like strains from his cornet. From the distorted annoyances of a short wave radio between frequencies, to sounds possibly associated with animal torture and even didgeridoo, these intuitive effects are balanced by the intermittent reference back to classic jazz rhythms by bassist Tom Abbs and Geoff Mann who pleasurably release this tension at opportune moments. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight August 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="EvanChristopherCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/EvanChristopherCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Evan Christopher - Delta Bound (Arbors AECD 19325)</b><br> </font> </td> </tr> </table> There is much to admire about the clarinet of Evan Christopher; the whispering woodiness of his tone in the lower register and his bluesy personal sound at the other end of the scale. The Creole tradition is alive and well in the hands of the Californian-born Christopher, both a master and student of New Orleans music. The album is dedicated to Lorenzo Tio Jr, the father of the Crescent City s clarinet style who taught many of the early greats. Veteran pianist Dick Hyman, another lifelong student of pre-World War II jazz, and two of the city s finest, bassist Bill Huntington and rhythm master Shannon Powell add a sophisticated touch to the music. Hyman is the perfect musical conversationalist as Christopher s sound, pure and full, soars throughout from the waltz  When We Danced at the Mardi gras as it moves into swingtime, to the stately  New Orleans and his own five originals, which capture the spirit of a great tradition. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight July 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DianneReevesCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DianneReevesCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Dianne Reeves - When You Know (Blue Note 0946 3 89658 2 4)</b><br> </font> </td> </tr> </table> What a letdown when compared to Dianne Reeves two previous releases, the soundtrack from the film Good Night And Good Luck (Concord) and her last for Blue Note (A Little Moonlight). I found it hard to sustain interest in what is her most commercial recording in years; a strange mixture of pop, soul and jazz covers. Reeves, blessed with a beautiful voice, phenomenal range and clear diction, is as immaculate as ever but she only cuts loose on the final track, the gospel blues  Today will be a Good Day . Guitarist Russell Malone is featured extensively but despite the classy backing, it sounds more like  smooth jazz than the real thing. After saying that it will probably be nominated for a Grammy! <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight July 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="SweetLowdownsCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/SweetLowdownsCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Sweet Lowdowns - Cuttin Capers (Preston Records PEP 5105, Distributed by Newmarket Music (NEW 3241.2)) </b><br> </font> </td> </tr> </table> It s uncanny how this Melbourne-based swing quartet captures the sounds of the 1930 s, especially the vocals by drummer Sandra Talty, sounding at times like a mixture of Mildred Bailey and Billie Holiday. But there is much to like about this disc which won the 2008 Australian Jazz Bell Award for the best classic jazz album. It swings easily as befits a working band with Talty, and bassist Richard Mander taking care of business with guitarist Liam O Connell, a fresh and inventive soloist.. And there s Michael McQuaid; so impressive whether it s the light sound of his Lester Young-inflected tenor or his fluid clarinet. A rare talent! <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight July 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <tr> <td><A NAME="BlaineWhittakerCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/BlaineWhittakerCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Blaine Whittaker - Sound Barrier (Saxis SR108)</b><br> </font> </td> </tr> </table> Post production, slick agility, technical prowess, even some synonymous licks, will draw some comparisons with altoist David Sanborn s 1990 s output. Highlights include the opening soulful version of Wes Montgomery s Road Song and Leon Spencer s funky The Scorpion, then what follows remains firmly in what the industry now calls  smooth jazz . Guests include DJ Bonez who samples (amongst others) a suggestive female  check it out underneath Whittaker s brazen baritone horn. James Morrison mutes his trumpet on Walk on By, while James Muller is under instruction to sound like Eric Clapton. Idol s John Foreman and Erana Clarke  touch-down very gently with Still Crazy. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight July 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JackZorawskiCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JackZorawskiCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Jack Zorawski Trio - First Train (jackzorawski@sympatico.ca) </b><br> </font> </td> </tr> </table> Better known to Canadian audiences, the Toronto bassist s debut as leader presents an attractive, non-confrontational introduction into an original jazz arena of easy swing, impressionistic ballads and the odd juicy backbeat all taken with two sugars of sweet melody. You may have to overcome the annoying split second gap which fleetingly separates each track and some are faded abruptly, reminiscent of an earlier age of recording. That said, Zorawski is sharing rather than commanding, providing pianist Richard Whiteman, from a Red Garland stylistic lineage, room to showcase his fluid thoughtful approach, touching behind, on, and ahead of the beat. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight July 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DanielLevinCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DanielLevinCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Daniel Levin Quartet - Blurry (Hatology 653)</b><br> </font> </td> </tr> </table> Tony Gorman once said  If it s a thing of beauty, then its art . Sharing aesthetic with the German/Austrian art movement Comic Grotesque, trumpeter Nate Woolley achieves those farcical nasal snorting sounds that remind me of a snoring chorus in a Strasbourg hostel dorm knowing I had to wake for an early train. The anxiety takes hold with the scattered splashes of Matt Moran s vibes and the stretching strains of Levin s cello. The beauty lies in Ornette Coleman s Law Years and Charlie Parker s Relaxin with Lee both taken at snails pace, and with no drums, these works offer a genuinely new interpretation. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight July 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="BuddyDeFrancoCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/BuddyDeFrancoCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Buddy DeFranco - Charlie Cat 2 (Arbors Jazz ARCD 19349)</b><br> </font> </td> </tr> </table> Buddy DeFranco, rated by some as the finest jazz clarinetist after Benny Goodman and Artie Shaw, seems to have drunk form the legendary Fountain of Youth if his latest album is any criteria. Although 83 at the time of the recording in December 2006, DeFranco plays with the energy and vitality of someone half his age as if inspired by the blazing trumpet burst from Lew Soloff which sets off the opening title track. He could not have been more impressive on Joy Spring and Anthropology as befits someone who was the first to play bebop on clarinet.. A remarkable effort. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight June 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JacksonCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JacksonCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Jackson & Hazeltine - Sugar Hill: The Music of Duke Ellington and Billy Strayhorn (Chesky SACD 333)</b><br> </font> </td> </tr> </table> Baritone saxophonist master Joe Temperley and myself have one thing in common: a love for the music of Duke Ellington. He never tires of playing it, .I never tire of listening to it. Especially when it s as good as this. Instead of a large orchestra exploring the bluesy Ellington moods we have a quartet led by tenor saxophonist Javon Jackson with support from pianist-arranger David Hazeltine, bassist Tony Reedus and drummer Paul Gill. Some of the fare is familiar (Caravan, Chelsea Bridge) but when was the last time you heard a quartet version of Solitude? They rise to even greater heights on the deeply moving ballad Warm Valley. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight June 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="KeithJarrettCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/KeithJarrettCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Keith Jarrett, Gary Peacock, Jack DeJohnette - Setting Standards New York Sessions (ECM2030-32)</b><br> </font> </td> </tr> </table> There is nothing standard about the music on this three-disc set reissued by ECM to celebrate the 25th anniversary of one of the elite groups in jazz history: the so-called  Standards: Trio of pianist Keith Jarrett. Aided by the humming bass of Gary Peacock and the masterful drumming of Jack DeJohnette, Jarrett shows how the great standards  both jazz and popular  could and should be played. And what is even more amazing is that they have continued to raise the bar each year as they explore this music. Even more amazing is that the CDs  two of standard fare (originally issued as Standards Vol. 1 and Standards Vol. 2) and one of mainly improvised original material by Jarrett (Changes)  and much of it unrehearsed, were all recorded over a short period in January 1983, in New York by three musicians with their roots in the avant-garde! But what a revelation as they showed that the great standards, many of them recorded countless times before by other artists, could still sound fresh and exciting as the trio seamlessly integrated from one style to another. Of the highlights don t miss the rocking gospel of  God Bless the Child , the whispering beautify of the polyrhythmic  Never Let Me Go or the straight ahead swing of  All the Things You Are . Here is the source of 25 years of creative greatness. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight June 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="EnricoPieranunziCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/EnricoPieranunziCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Enrico Pieranunzi - As Never Before (Cam Jazz 7807-2)</b><br> </font> </td> </tr> </table> McCoy Tyner once described Pieranunzi as  a new addition to the top jazz-piano world , and while the gut wrenching, sustained notes from Kenny Wheeler s trumpet and flugelhorn renders this a rather sleepy first listen, persistence will reward with clingy haunting melodies and masterful playing by his trio of 24 years. With over 30 albums to his credit, the Roman pianist/composer has a knack for contrasting textural changes deployed with astounding effect notably on Many Moons Ago when the flugelhorn s easy meandering river turns to pianistic rapids in a series of alerting descending runs. Pieranunzi s originals seem to linger in your head like certain pop tunes; moreover his classical roots no doubt perpetuate the importance of melody. Wheeler s mournful wavering resonances, as opposed to an orthodox vibrato, on both instruments become more melancholy with age. Marc Johnson s lyrical bass solos and Joey Baron s empathy on drums combine to make this a spellbinding album. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight June 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="ElizabethGeyerCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/ElizabethGeyerCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Elizabeth Geyer - On Patrol with the Jazz Police (www.elizabethgeyer.com EG003) </b><br> </font> </td> </tr> </table> Elizabeth Geyer s third album re-boots the momentum driven by The Dream where the aesthetic is blurred between an original contemporary jazz edge and a pianist-singer-songwriter sensibility. Her breathy yearning tone adapts readily to a range of emotions and desires in her lyric. While much of Geyer s thought provoking poetry is open for personal interpretation, these compositions and arrangements especially the energetic pieces include qualities of climactic drama and surprise. I didn t want the crescendo of A Candle is Sweeter than Fire to end. Most of her trumpet/flugelhorn acts as improvised gilding but complements the dynamic between Bill Risby s piano and Jonathon Zwartz s bass. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight June 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="MarcinWasilewskiCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/MarcinWasilewskiCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Marcin Wasilewski Trio - January (ECM-2019) </b><br> </font> </td> </tr> </table> This Polish piano trio demonstrates maturity beyond its years, due to its history dating back to 1990 as teenagers but gaining stature most recently with their involvement with Tomasz Stanko and Manu Katche. The first five selections are restrained impressionistic sounds lingering like a musical incense. Compositional rights are as diverse as Tomasz Stanko, Gary Peacock and Prince but are tempered with a light touch extracting each minimal essence. Serious tempo only commences on track 6 with Carla Bley s  King Korn and they swing hard but swing is no holy grail on this album and that s what makes it so compelling <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight May 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="PatMethenyCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/PatMethenyCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Pat Metheny - Day Trip (Nonesuch 367828-2)</b><br> </font> </td> </tr> </table> Metheny is back at his melodic best with this mainly tepid but well balanced trio album which in many ways is as good as his Warner Bros output at the turn of the century. The new trio comprises of the most sought after bass player in jazz Christian McBride and rising star Antonio Sanchez on drums. McBride s bow work on the 2005 Katrina dedicated  Is this America? is especially exquisite. Not a sound of anger, rather, this is a mournful lamentation with some notes played so caressingly they are virtually implied, just as the question is implied in his melancholy melody; what have we become? Other mood changes include a couple of steaming tempos that showcase their collective virtuosity, a reggae,  The Red One and the soulful  When we were free where a gear shift suddenly morphs the guitar sound into an electronic folk-like fiddle. All the selections are Metheny originals. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight May 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JaneIrvingCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JaneIrvingCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Jane Irving - Beams (<a href=http://www.janeirving.com> www.janeirving.com</a>)</b><br> </font> </td> </tr> </table> Bravura! While some singers make claim by including evergreens from the Great American Songbook in their repertoire, Irving is a jazz singer. Her scatting would be among the most sincere recorded in Australia since Kerrie Biddell as it has genuine instrumental purpose. The selections are challenging jazz standards for vocalists including Horace Silver s Doodlin and Oliver Nelson s Stolen Moments but she naturalises them using her warm tone sometimes reminiscent of Michelle Nicolle. Contributions from Matt McMahon s piano and arr. and Ashley Turner s bass are worthy of note especially Don Rader s Milesian bittersweet flugelhorn solo on JJ Johnson s Lament. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight May 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="HowardAldenCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/HowardAldenCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Howard Alden & Ken Perlowski - Pow-Wow (Arbors ARCD 19340)</b><br> </font> </td> </tr> </table> This is a brilliant study in jazz interplay, the music rich in its diversity and mood, by long-standing musical compatriots, clarinetist and tenor saxophonist Ken Peplowski and guitarist Howard Alden who first began performing as a duo in 1992 and recorded a well- received set for Concord Records. There is an almost telepathic connection between the two, one of jazz s pre-eminent clarinetists and a guitarist noted for his subtle finesse and swing, as they confidently and congenially converse with their instruments. Don t miss the exciting question and answer romp through the rousing title track based on Cherokee written by another guitarist Joe Puma or the almost reverent treatment of the lovely Billy Strayhorn gem After All. Unfairly dubbed  Young Fogies and New Swing when they both arrived in New York in the early 1980s, there is nothing tired or ancient about their interpretations of some long-forgotten and little known jazz and popular standards by the likes of Cole Porter, Duke Ellington and Bill Evans to name but a few. Indeed the challenge of fresh the material only emphasizes their deep rapport and musical chemistry: Peplowski s clarinet is ebullient or gentle, his tenor warm; the perfect foil for Alden <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight May 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="BillCharlapCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/BillCharlapCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Bill Charlap - Live at the Village Vanguard (Blue Note 7143 5 97044 2 5) </b><br> </font> </td> </tr> </table> For anyone not familiar with the Bill Charlap Trio, this set recorded live at the legendary New York club in September 2003, is the perfect introduction. The pianist is the foremost interpreter of the classic standards which sound as if they were written just for him. Few, if any, piano trios swing more than Charlap s. With the Washingtons, Peter (bass) and Kenny (drums), the pianist gives full reign to his fleet-fingered aerobics on the breakneck The Lady Is a Tramp. But it s the ballads, where he gives full reign to his sophisticated romanticism, which shows him at his best. Not to be missed! <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight May 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="NickiParrottCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/NickiParrott1CD.jpg" width="210"> </td> </td> <td><font color="black"><b>Nicki Parrott - Moon River (Venus Records TKCV 35412)</b><br> </font> </td> </tr> </table> The Newcastle-born Nicki Parrott is very much in demand in New York as a bass player. Now her jazz vocals are impressing more and more with a voice that is emotionally sensitive, tender, sometime coquettish and on Nicki s Blues downright erotic! Harry Allen s tenor is added on some tracks and he is the perfect accompanist, dreamy (Besame Mucho), grooving easily (Taking A Chance On Love) and playful (Is You Is Or Is You Ain t My Baby). As for Nicki, her best may be yet to come as a singer but this is more than good enough for now. Impressed? You bet. Just listen to The More I See You. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight May 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="RubyBraffCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/RubyBraffCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Ruby Braff - Ruby Braff and the Flying Pizzarellis (Arbors ARCD 19270)</b><br> </font> </td> </tr> </table> I never tire of listening to Ruby Braff, the melodic master of the jazz cornet. Like the great Stan Getz in his final months, Braff refused to let his fragile health compromise his artistic integrity and the high standards he had always set. This was especially true on this, his final session, recorded only eight months before his death through emphysema on February 9, 2003 which ended a 54-year (1949-2002) recording career. Some of his finest albums (and for that matter some of the best ever by a small group) were recorded with two guitars. And this is the case here when, reunited with veteran drummer Jim Gwinn and Bucky Pizzarelli, and playing with the trio of the guitarist s son John for the first time. Braff is in great form, sublime on the ballads and reveling in the spontaneous interplay. It s typical Braff: nice tunes, beautifully played. What more could you want? <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight April 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DinaDeroseCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DinaDeroseCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Dina Derose - Live At The Jazz Standard, Volume One (MacJazz MJX504)</b><br> </font> </td> </tr> </table>  The most creative and compelling singer-pianist since Shirley Horn wrote one American critic. No wonder my ears pricked when I first heard Dena DeRose. This album recorded over three nights at the New York club in March 2007 with her trio of seven years (bassist Martin Wind and drummer Matt Wilson) is the perfect setting to enjoy her. Impressed? You bet. She handles her dual role with aplomb. I like her no-nonsense approach to standards as she renews them with the devil may care attitude of the late Anita O Day. A remarkable talent at the head of one of the best trios in the business! <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight April 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JanetSeidelCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JanetSeidelCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Janet Seidel featuring Jone Chindamo - Charade: Henry Mancini Songbook (La Brava LB0077)</b><br> </font> </td> </tr> </table> Vocalist Janet Seidel and pianist Joe Chindamo have one thing in common _ they have both have topped the international jazz album charts in Japan. As they also share a love for melody, it seemed only logical our most popular jazz singer should record with one the country s very best pianists and on the results here I hope it s not their last album together. Janet s albums always have a theme; this time it s the music of Henry Mancini. The warmth of her voice adds to such staples as Days Of Wine And Roses and Charade and Chindamo, the supreme accompanist, shows how to touch the soul of a ballad and swing easily at any tempo. All class. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight April 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="NewportCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/NewportCD.jpg" width="210"> </td> </td> <td><font color="black"><b>The best of Newport  57 - Various artists (Verve 0625 17416109)</b><br> </font> </td> </tr> </table> Jazz impresario Norman Granz never did anything in half measures. In 1957 he recorded the whole four days of the Newport Jazz Festival for his Verve label. This two-CD set celebrating the 50th anniversary of the event _ most of it never released before _ shows how diverse the music on offer was. Considering the lineup of legendary names, no wonder the 1950 s are considered a golden era. To numerous to mention, they range from traditionalists like Kid Ory and George Lewis to the big bands of Count Basie and Dizzy Gillespie, tenor giant Coleman Hawkins, the Gerry Mulligan Quartet and then contemporary pianist Cecil Taylor. Great memories and some wonderful music. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight April 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="KimSandersFriends">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td><b>Kim Sanders & Friends - <i>"Bent Grooves"</i> - Sound Lounge 9th May 2007</b><br><br> Such was a celebration of various cultures through regional music, a reflection of the endless pursuit of diversity for Kim Sanders. Whilst performances sharing the theme of diversity have not gone un-acknowledged over the past decade, it felt to me like the shackles of the Howard monoculture had finally been broken during this performance which represented more than just creative music but friendship, inclusiveness, respect and genuine inter-cultural collaboration. Sanders might look like a gypsy with his long greying locks, his Bohemian garb and his goat skin bags but his manner and his dialogue is as Aussie as the next bloke and this fact almost defies the reality of his ability to converse in several languages across the Asian, European and African continents, let alone his ability to foster musical conversations in as many languages using over 14 wind instruments.</p> Along with Kim Sanders, the core quartet of the  Friends include Sandy Evans tenor and soprano saxophones, Bobby Singh tabla and Steve Elphick double bass. They opened with <i>Heyamoli</i> a Northern Turkish lament which saw Kim playing Turkish gaida (bagpipe) and Sandy in unison on tenor.</p> Next they performed the suite <i>A Journey in Saba Makam</i>. The ney is a sufi flute made of bamboo which Sanders freely improvised the first movement <i>Bas Taksim</i> over a singular Elphick drone followed by the additive of Evans and Singh. Such was Evans sensitivity on tenor during the second movement <i>Saba Nefes</i> I that her shadowing was simply an additional tonal flavour of the smokey fluted melody. The final movement showcased the awe-inspiring talent of Singh on tabla.</p> Sanders who is also a keen surfer, at one time took up the boogie board instead and soon found that serious surfers refer to them as a <i>Speedbump</i> but what commenced as a gypsy jam ended up a Congolese groove thanks mainly to the synchronicity of both Singh and Elphick.</p> Yet another continent was thrown into the mix with the addition of Chilean Carlos Villanueva and his Andean charango playing the flamenco tinged <i>The Bad Bodgie Bulerias</i>. With an almost clenched fist, Villanueva s finger nails rapidly raked the repeated four chords of this piece on this instrument of only ukelele dimensions. By now parts of the capacity crowd were shrieking.</p> <i>Kay Yagar</i> which is interpreted as  snow is falling was a further showcase of Sanders skills; this time on the double reeded flute, the mey. His circular breathing and tonguing of this instrument created a spellbinding vibrato which preceded his swap to the bagpipes. Another dimension of this piece was the addition of Llew Kiek from the renowned band Mara! on the baglama or Turkish lute.</p> <i>Istanbul Blues</i> allowed Sandy Evans on tenor a precursor of what was to come on <i>Oi Havar</i> where she simply soared, taking the audience with her on a carpet ride of freedom and joyous expression.</p> When George Doukas arrived on stage the battle of the bouzouki s began with Kiek choosing his own richly decorated axe. While Doukas proved a virtuoso, nothing was going to prepare us for the arrival of the final friend Bobby Dimitrievski on clarinet who displayed an agility on the instrument which is rarely witnessed. Following a standing ovation the group finally returned to the stage for a fitting finale. But what was probably the most musically intuitive passage of the performance came after Evans (during her solo) cried to Dimitrievski to  join in Bobby . The result was a lesson to us all in genuine conversation where listening is just as important as speech when the magic of their respective instruments interwove a singular dialect of perfect harmony.</p> This was nothing less than a triumphant performance by Kim Sanders and Friends<br> </tr> <tr> <td align="right"> by Peter Wockner.</td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="CliffordBrownCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/CliffordBrownCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Clifford Brown  Jazz Characters, Joy Spring (Le Chant du Monde 2741455-56) </b><br> </font> </td> </tr> </table> A 1950 serious car accident did not deter  Brownie , the young Indiana bop trumpeter from reaching stellar heights with expectations of even surpassing Dizzy. CD 1 charts his development from 1952-1954 including the quirky inclusion of the calypso  I Come from Jamaica . The definitive moments are found on disc 2; firstly a duo with Max Roach which could now be argued as a pre-cursor to Roach s Freedom Now Suite and a rare live recording of a theatrical Dinah Washington  I ve got you Under my Skin complete with Brownie, Clark Terry and Maynard Ferguson trading fierce blows. Tragically, Brownie died in another car accident in 1956. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight April 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="ElianeEliasCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/ElianeEliasCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Eliane Elias - Something for You. Eliane Elias sings and plays Bill Evans (Blue Note Records 5099951179526)</b><br> </font> </td> </tr> </table> Elias returns to Blue Note after a short spell with RCA to document a moving tribute to the legendary pianist. Her husband and bass player on this recording Marc Johnson was with Evans in his final trio but it was a cassette recording of unfinished works that triggered this project, part of which can be heard in its original form on the final track. The Brazilian pianist adds her light and breezy vocals with her clipped phrasing to some tracks, but it s her swinging playing, exquisite time changes and some previously un-recorded Evans material that I wanted to hear most. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight April 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DaveDouglasCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DaveDouglasCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Dave Douglas & Keystone - Moonshine (Greenleaf Music GRE-06) </b><br> </font> </td> </tr> </table> Trumpeter Dave Douglas finds new inspiration in a live recording to develop further the futuristic style of his 2005 Keystone release. Moonshine beckons the dancer with shuffling backbeats and questions the conscience with samples of Bush s monotonous reference to  terrorists against mournful Middle Eastern female chants juxtaposed by a trumpet lament. The music is spiked heavily by DJ Olive and his laptop, while the fat vibrato of Adam Benjamin s fender rhodes subconsciously propels the rhythm. Douglas himself strikes the fine balance of pre-conception versus spontaneity that results in such a tasty recipe, embedding this new sound in the tradition of jazz. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight April 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="LesTresorsCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/LesTresorsCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Les Tresors - Du Jazz, Volume 7 (1956), Various (10-CD set), Le Chant Du Monde 574 1471.80 </b><br> </font> </td> </tr> </table> Ratings are superfluous when faced with a historically important reissue package such as this. In 1956 jazz was part of music s mainstream (a far cry from today when it is all but shunned by the major record companies) and the sounds recorded rich in their diversity. Greats abound. Ellington, Armstrong and Basie to the MJQ, Miles and Max and Clifford - and the sounds: traditional to big band, mainstream, cool, bebop and post bop. The only greats not represented appear to be Benny Goodman and Coleman Hawkins. And the music! Who said West Coast jazz didn t swing: a listen to the romping version of the Basie favourite The King by alto saxophonist Bud Shank and tenorist Bob Cooper puts pay to that. Or tenor giant Stan Getz at his imperial best making light of the fast tempo as he outplays both Dizzy Gillespie and Sonny Stitt after they had both vowed to put him in his place musically. Or the genius of pianist Art Tatum with another tenor giant Ben Webster. Or . . . I could go on. This is an indispensable set no serious jazz collector should be without. Already my reissue of the year. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight March 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="HarryAllenCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/HarryAllenCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Harry Allen-Joe Cohn Quartet - Music from Guys and Dolls (Arbors ARCD 19354)</b><br> </font> </td> </tr> </table> Songs from Frank Loesser s classic score have proved a favourite with jazz musicians including such greats as Louis Armstrong (Sit down You re Rockin the Boat) and Miles Davis (If I Were a Bell). The mostly hard swinging versions by this award-winning quartet are enhanced by guest vocalists Rebecca Kilgore, warm and supple, and Eddie Erickson, who adds just the right touch to Luck Be a Lady. As for the excellent Allen, he is at his Getzian best on the lyrical I ll Know and with co-leader, guitarist Joe Cohn, swings joyously on the title track. This is a working band in rare form. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight March 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JimmyCobbCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JimmyCobbCD.jpg" width="210"> </td> </td> <td><font color="black"><b>The Jimmy Cobb Quartet - Cobb s Corner (Chesky SACD 327)</b><br> </font> </td> </tr> </table> Fifty years ago albums like this were commonplace, superior blowing sessions built around popular and jazz standards, a blues and a few originals. Today they are an exception to the rule but what an exception this is! Don t miss it. The legendary Jimmy Cobb, the last surviving member from Miles Davis Kind Of Blue session, gives a master class in the art of drumming with a stellar quartet: trumpeter Roy Hargrove, pianist Ronnie Mathews and bassist Peter Washington. Whether open or muted, the versatile Hargrove is all class and the burnished beauty of his ballad playing on flugelhorn quite lovely. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight March 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="BarneyMcAllCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/BarneyMcAllCD.jpg" width="210"> </td> </td> <td><font color="black"><b><a href=http://www.barneymcall.com target=_blank>Barney McAll</a> - Flashbacks</b><br> </font> </td> </tr> </table> Australian pianist Barney McAll continues to forge a pathway in the fertile hot-bed of NYC. Apart from the highly personal compositional style of McAll, the key ingredient here is the addition of the frighteningly agile guitarist Kurt Rosenwinkle. Rather than fluid lines, McAll in a guiding role, uses the piano as a navigational tool within the context of his mood swinging compositions; from agitated thunderstorms followed by sublime composure through to contemplative utterances with subtle influences from Africa, the Middle East and Cuba allowed to bubble through to the surface. Obed Calvaire s double time cymbal work is quite remarkable. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight March 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="MattKeeganTrioCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/MattKeeganTrioCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Matt Keegan Trio - Tone Imagination (Jazzgroove JGR039)</b><br> </font> </td> </tr> </table> Enthusiasts identify the famous Blue Note  sound immediately. The Sydney based collective have released their 39th album and similarly, if there is a sound that embodies the  Jazzgroove sound then Keegan s Tone Imagination is it. His trio s third and finest continues to explore the possibilities of the organ-like shoebox known as the  Maestro which, when connected to both wah-wah pedal and his saxophone mouthpiece, produces an array of tonal palettes sometimes industrial or metallic at other times radiant and soothing. Cameron Undy on electric bass is not as busy here as his 20th Century Dog digs and instead plays a pure pulsating groove. Keegan s compositions curb the intensity of Undy s bass and Goodman s textural percussion leaving Keegan wider spaces to overdub and orchestrate ravishing releases of tension, undoubtedly influenced by hip-hop projects, DJ collaborations, and the great Eddie Harris. Brilliantly recorded and if you have the luxury of space largesse  turn it up! <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight March 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="SteveRussellCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/SteveRussellCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Steve Russell - When the Light Comes (Pinnacles Music PM 02/04)</b><br> </font> </td> </tr> </table> Further proof of the quality of jazz scene s outside of our major cities. The pianist has gathered the core artists of the Northern NSW jazz scene. Two sparkling solo-piano standards Round Midnight and Stella by Starlight are expressed thoughtfully and respectfully, while his originals germinate from a generic, well versed tradition then expose contemporary influences from Cuban to Coltrane and West Coast characteristics. Russell s compositions allow Jack Thorncraft s bass a collaborative role in forming the melodic appeal of this material and his bow work is as commanding as ever. Tony Buchanan, John Hoffman and Jim Kelly also stamp their brands. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight March 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="BeckyFoxCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/BeckyFoxCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Becky Fox - Allure (ABC JAZZ 4766239)</b><br> </font> </td> </tr> </table> Despite the prevalence of pop leaning backing vocals and  ooh wooh padding, Allure provides more than a taste of the pure essence of Fox s angelic voice; a voice of luscious sensuality that I d like to hear in a less produced setting. Most selections are sung in French with remarkable pronunciation. Slick arrangements by Graeme Lyall and others but the re-arrangement of I Love Paris provides little scope for emotional connection with the lyric. Romanticism is at the forefront of a Joe Chindamo piano accordion solo on Let it be Me. Other major contributors include John Hoffman on trumpet/flugelhorn and Simon Patterson on guitar. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Feb 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="HoraceSilverCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/HoraceSilverCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Horace Silver - Jazz Characters (Le Chant du Monde 2741537.38) </b><br> </font> </td> </tr> </table> One of 40 titles in the Jazz Characters series compiled by French jazz conservationists Andre Francis and Jean Schwarz. This dual CD set presents the formative pianist in numerous be-bop and trio settings from 1951 to 1954 on disc 1 featuring the blistering Lou Donaldson alto and an un-decided Miles Davis, before gravitating to his signature soul jazz sound from 1954 to 1956 on disc 2, with his quintet and the Jazz Messengers. Re-mastered sound ensures a surprisingly consistent quality throughout. The chronological compilation documents his development from a sizzling bop exponent influenced by Bud Powell, to the soulful melodist at medium tempo. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Feb 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="CamMcAllisterCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/CamMcAllisterCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Cam McAllister Quintet - Libran Balance (CAM001) </b><br> </font> </td> </tr> </table> Rich dark chocolate harmonies set against a background of melodic bass-lines and energetic rhythms dominate this independently released debut album from the Melbourne trumpeter. Listen intently and allow his mood changing but highly accessible compositions to overshadow his gently piercing trumpet style showing some Terence Blanchard tendencies coupled with a certain soulful fragility. At it s most dramatic, White Knight has a feeling of mystery and intrigue via the captivating lines of pianist Mark Fitzgibbon. Dave Rex on alto completes the classic quintet instrumentation while trombonist Jordan Murray guests on three of the nine tracks. A talent deserving wider recognition. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Feb 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JackieRyanCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JackieRyanCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Jackie Ryan - You And The Night And The Music (OpenArt OA 07292) </b><br> </font> </td> </tr> </table> I ve been so busy praising Roberta Gambarini for the past 12 months that I d forgotten about the San Francisco-based Jackie Ryan who has been a fixture at Ronnie Scott s Club in London for the past eight years and sung at major venues in New York and Los Angeles. This brilliant album, her first for four years, is a timely reminder that Ryan who one English critic called the best singer to appear at Ronnie Scott s since the late Shirley Horn, shows she is among the very best of her generation. Four years is too long between albums for a singer with such a richly expressive voice although I understand one with pianist Cyrus Chestnut and tenor Eric Alexander will be released later this year. I detect overtones of both Sarah Vaughan and Betty Carter and, like the former she has the ability to rephrase a melody. But she is very much an original stylist from her whiskey and honey tone in the lower register to the crystal clear intonation at the top. And her backing is all class; pianist and arranger Tamir Hendelman, bassist Christopher Luty, drummer Jeff Hamilton and, on five tracks, the ballsy tenor of veteran Red Holloway. Every track has something to offer: the sensual beauty of Besame Mucho, the lovely ballad Never Let Me Go and the swinging title track to name a few. Unreservedly recommended. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Feb 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="EllaFitzgeraldCD1">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/EllaFitzgeraldCD1.jpg" width="210"> </td> </td> <td><font color="black"><b>Ella Fitzgerald - Live At Mister Kelly s (Verve 06025 17332157) </b><br> </font> </td> </tr> </table> A real treasure trove, this set captures a relaxed Ella Fitzgerald in an intimate setting interacting confidently with a live audience at the Chicago nightclub in 1958 with her trio. Never released before, probably because Norman Granz had already issued concert albums with her from the Hollywood Bowl (1956) and the wonderful Live At The Opera House (1957). This is vintage Ella, a mixture of up-tempo numbers, lovely ballads and swing anthems scatted as only she knew how. Many were songs she rarely sang including two associated with Frank Sinatra; In The Wee Small Hours and Witchcraft, complete with verses. A must for Ella fans <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Feb 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="AnthonyHoweCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/AnthonyHoweCD.jpg" width="210"> </td> </td> </font> </td> </tr> </table> Described by drummer-leader Anthony Howe as  classic jazz Aussie style , this is bright and more than acceptable music played by one of the best small groups of its kind. It may have traditional roots but Howe s deep knowledge and catholic taste keeps the band s repertoire varied, original and good humoured. Here it includes compositions by Duke Ellington, Benny Carter, Gerry Mulligan, his own originals and a Jimmie Lunceford-styled Ain t She Sweet. Spurred by a healthy rhythm section, the rocking ensembles are played with ease and assurance leaving space for strong solos, especially by trombonist Dan Barnett, both open and muted and pianist Peter Locke, one of the unsung treasures of the Sydney jazz scene. . <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Feb 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="EnricoRavaCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/EnricoRavaCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Enrico Rava and Stefano Bollani - The Third Man (ECM 2020 173 7322) </b><br> </font> </td> </tr> </table> Musicality, freshness and lyricism; these words sum up this album by ECM s Italian dream team, the richly gifted improvisers trumpeter Enrico Rava and pianist Stefano Bollani. The nimble-fingered virtuoso, who has all the jazz piano styles at his fingertips who won the 2007 European Jazz Prize sponsored by the city of Vienna, is the perfect foil for Rava s warm and melodic trumpet. Most of the tracks are Rava originals; standard-like melodies, tone poems and free improvisations plus two takes of Jobim s romantic Retrato Em Branco Y Petro and the lovely Estate caressed so yearningly in Milesian fashion by Rava. In one word: delightful <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Feb 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="RobertaGambariniCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/RobertaGambariniCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Roberta Gambarini and Hank Jones - You Are There (Emarcy 0602517370678) </b><br> </font> </td> </tr> </table>  A dream come true is how Roberta Gambarini describes her second album, this 2005 session with piano master Hank Jones who has been a consummate accompanist to singers for more than 50 years. And a good pianist does wonders for a singer! Think of the Ella Fitzgerald Gershwin sessions with Ellis Larkins or, in a more popular vein, Tony Bennett with Bill Evans. The Italian-born Gambarini could not have asked for a more tasteful or sympathetic soloist than the 89-year-old Jones, the last of a famous dynasty with drummer Elvin and flugelhornist and arranger-composer Thad. Described in the 1950s as a  modern day Teddy Wilson , Jones shows why as he elegantly but with maturity enhances the beauty of Gambarini s melodic control on a memorable Stardust and adds to her warmth on the ballad Deep Purple. They may have been born generations apart and in different musical eras but Gambarini and Jones are a perfect match.<br> The fastest rising vocal star in jazz, Gambarini has been compared to Ella although I find Carmen McRae more of an influence. Admittedly there are similarities with Ella whose vocal powers no one could match but the sparkling When Lights Are Low and her slow scat on People Time show Gambarini s flexibility. She will record even better albums than this in the future, a mouth-watering prospect. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JonErikKelsoCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JonErikKelsoCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Jon-Erik Kelso - Blue Roof Blues: A Love Letter to New Orleans (Arbors Jazz ARCD 19346) </b><br> </font> </td> </tr> </table> Jon-Erik Kelso and Evan Christopher will be familiar to traditional and mainstream jazz lovers who have attended the annual Bob Barnard Jazz Party in Melbourne. Kelso may have Chicago roots but his trumpeting shows his affinity with the music of New Orleans and Christopher s clarinet playing continues the classic legacy of a rich musical tradition. They seamlessly bond together on originals and breathe new life into such hoary chestnuts as Panama (dig the habanera beat) but the highlight is Kelso s long but mournful title track which captures the bruised heart and soul of a devastated city; a very special letter from the Big Apple to the Big Easy <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="RussellMaloneCD1">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/RussellMaloneCD1.jpg" width="210"> </td> </td> <td><font color="black"><b>Russell Malone - Live At the Jazz Standard, Volume Two (MaxJazz MXJ604) </b><br> </font> </td> </tr> </table> No stretching the boundaries of jazz here, just guitar playing of the highest class as Russell Malone, a brilliant soloist, shows why he is held in such high esteem. Listen to the shimmering sensitivity of Irving Berlin s How About Me, a ballad feature which is just one of the many delights of the second  live album by Malone s working band; pianist Martin Bejerano, bassist Tassili Bond and drummer Jonathan Blake, taped at the Jazz Stand club in New York in September, 2005. Malone finds new avenues of exploration on these extended workouts. It s mainly original material but there are exceptions, especially his inventive take on <i>The Theme from Gunsmoke</i> <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DonRaderCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DonRaderCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Don Rader - Odyssey (Newmarket 3237.2)</b><br> </font> </td> </tr> </table> Trumpeter Don Rader has chosen a mixture of hard bop, jazz standards and originals to showcase his new young quintet and on the evidence here, it won t be the last we will hear from a group which shows a high level of creativity solo wise and the horns blend nicely together. It includes two of Rader s former students, pianist Gerard Masters who plays with a graceful economy and sparkling ebullience, and drummer Tim Firth. Brendan Clarke, Sydney s most in-demand bassist, and tenorist Craig Walters complete a lineup which is augmented by Tony Azzopardi on two tracks. Rader is tastily muted on Alone Together and the group obviously enjoyed the Latinised Bernie s Tune. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="JudyBaileyCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/JudyBaileyCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Judy Bailey Trio - Pendulum (BL017) </b><br> </font> </td> </tr> </table> The release of a new Judy Bailey trio recording should be a regarded as a treasured moment in the history of Australian jazz. Her composition choice carries an air of majesty from the dark harmonies and shimmering arpeggios of the wonderfully lyrical  Flamingo to her own soulful  Country  not Western Blues and a jaunty rhythmic re-arrangement of Cole Porter s Night and Day. Craig Scott lays a multi-coloured conduit and extracts all the physical nuances of his double bass during solo-work while Tim Firth s abstract brushwork on Tad Dameron s  If You Could See me Now  , is like a Gene Kelly tap routine. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="ExposedBoneCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/ExposedBoneCD.jpg" width="210"> </td> </td> <td><font color="black"><b><a href=http://www.exposedbone.com target=_blank>Exposed Bone</a> - Plugged Vol II</b><br> </font> </td> </tr> </table> Laced with weighty potent passages of unashamed rock and funk, this trombone and guitar led recording exposes the groove and grunge sound of the younger Sydney jazz set. The wailing and growling trombone of Jeremy Borthwick also displays some remarkable piston-like agility especially on the Indian and African flavoured pieces along with some ferocious guitar work from Ben Hauptmann. Most compositions employ sections of jamming and overdubbed trombone harmonies hanging above repetitive guitar motifs, but pendulum swings and momentum shifts surprise when roles reverse and melody takes over. There s also the rare taste of Brendan Clarke playing electric bass utilising synthesised effects. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="GEST8CD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/GEST8CD.jpg" width="210"> </td> </td> <td><font color="black"><b>GEST8 - Kaleidoscope (Tall Poppies TP195) </b><br> </font> </td> </tr> </table> Sandy Evans and Tony Gorman are again pushing jazz through its outer most boundaries with sounds that reflect the diversity of Australia s social landscape without abandoning fundamentals. Sadly, today s music scene offer s few live opportunities for a band like GEST8 but the cohesive interplay between members is a testament to their level of musicianship. Compositionally compelling and zany as ever; Gorman s Kaleidoscope was built around the architecture of Coltrane s Giant Steps while Evans s bumbling The March of Captain Vanstone had me laughing out loud. You ll find GEST8 a compass range away from the previously successful Clarion Fracture Zone with Satsuki Odamura s ground-breaking koto and bass koto melding with the Korean informed percussion of Simon Barker. Greg White s sampling, the flexibility of Carl Dewhurst s guitar, Paul Cutlan s accordion-like Eb clarinet, Phil Slater s ethereal trumpet and Steve Elphick s well travelled bass add artistic dimensions of enormous proportion.<br> It should be made compulsory listening to fulfil the citizenship test. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star_i.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DexterGordonCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DexterGordonCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Dexter Gordon - Live in 63 & 64 (Jazz Icons Naxos 2.119002) </b><br> </font> </td> </tr> </table> When not riding his bicycle around Copenhagen, Gordon was, at 40, touring Europe using pick-up rhythm sections playing a repertoire steeped in the history of jazz. Holland 1964 and the relaxed, handsome Gordon, (epitome of cool) enters the cosy club late, the rhythm section already on stage, wearing a trench coat through the haze of cigarette smoke, gives a charming dignified introduction to  A Night in Tunisia ; a reflection of his stately tenor sound. Switzerland 1963 was a concert hall but with a milk bottle sounding piano while Belgium 1964 s  Body and Soul with Art Taylor on drums is simply a treasure in both picture quality and sound. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Jan 08</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="KnoxvilleCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/KnoxvilleCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Knoxville Jazz Orchestra - Blues Man from Memphis (Blue Canoe BC 1040) </b><br> </font> </td> </tr> </table> Few jazz orchestras compare with the K.J.O. No less than seventeen chairs with room for fifteen additional artists on eight mostly medium to up tempo originals by the Mississippi born pianist, composer & leader Donald Brown, who replaced James Williams in Blakey s Messengers in 1981. The three live selections have the powerhouse sound you d expect, however the studio cuts portray a multifaceted composer of swing, blues, contemporary, reggae and Latin with a refreshingly restrained intent of extracting the essence of each composition. Guests include Stefon Harris & Greg Tardy. A highlight is  Peace for Zim with a distinctive township flavour and a screaming Tardy tenor solo. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Dec 07</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="AndrewRobsonCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/AndrewRobsonCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Andrew Robson and Paul Cutlan - Simpatico (Lamplight Records LLR00106)</b><br> </font> </td> </tr> </table> This is a duo set of musical conversations. In the context of compatible spontaneous improvisation, listening to each other goes hand in hand with creation. The Sydney reedmen listened intently as they played on this delightful balancing act of atonal freedom and melodical motifs. Foreshadowing, foxing and reaching for the unknown, rather than the known, without compromising on melody, some of which are clearly influenced by their tenure with the Eastern European flavoured group Mara! Cutlan plays tenor and Eb clarinet but predominantly with the bass clarinet and uses the lower extremities to haunting effect, while Robson often plays the straight man on alto. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Peter Wockner.<br><span style='font-size:7.0pt'>Previously published in Limelight Dec 07</span></td> </tr> <tr> <td> <A HREF="#Index">Back to Index</A> </td> </tr> <!-- //////////////////////////////////////////////////////////////////// --> <tr> <td><A NAME="DianaKrallCD">&nbsp;</A> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td> <table> <TBODY> <TR> <td> <img src="bitmaps/CD/DianaKrallCD.jpg" width="210"> </td> </td> <td><font color="black"><b>Diana Krall - The Very Best Of Diana Krall (Verve 9547000)</b><br> </font> </td> </tr> </table> Diana Krall must have put a special emphasis on her signature opening tune I Love Being Here With You during her first major American tour several months ago after giving birth to twins on December 6 last year.<br> She took  my little angels (the twins Dexter and Frank) with her! That s hardly surprising for someone who considers herself to be a hands-on mother but this is an artist who the previous decade spent 300 days each year on the road.<br>  I ended up sleeping two hours a day, she says on the telephone from London but she had the best reviews of her career with critics from the east coast to the west lavish in their praise. Motherhood and marriage to Elvis Costello obviously agree with the 42-year-old singer-pianist. Combining them with a career is the ultimate challenge but Krall says it s  going surprisingly and extraordinarily well. I m loving it. Not a lot of sleep but I m loving it. I make the most of every moment. It s been the pivotal point of my life having my own family. <br> She s more relaxed, content and happy and it shows as we talk. Maybe it s the thought that after our conversation she will be ringing the United States to check on the twins.<br> With Oslo the next stop and hardly any rest from performing until a break in December-January combining her two careers may become more daunting in future.  I have five more years to figure that out. I don t plan on an early retirement. Jazz musicians don t really retire. We keep going, but I will always do what is best for my family. <br> The songs she sings act as emotional weather report. With demos already in hand for her next album, a second collaboration with veteran arranger-conductor Claus Ogerman and the London Symphony Orchestra to be recorded in February, the forecast couldn t be better.<br> To paraphrase one of the first albums I ever bought (Jazz for People Who Hate Jazz), Diana Krall remains the jazz singer of choice for those who really don t dig the music. It s her personal interpretations of the great standards whether with a lush string orchestra, a big band or small groups that has enabled her to attract both the jazz and mainstream audiences. The emphasis is on ballads in this classy retrospective drawn from eight of her previous 10 albums but there are also examples of her with a trio or quartet, the format which first captured the attention of the jazz lover. She describes the album as being  for people who have never heard of me . Never heard of her! It s hard to imagine anyone who has not heard of this critically and commercially successful singer who remains one of the hottest, if not the hottest, vocal property in jazz. She s a class balladeer. Listen to the tracks from her 1999 collaboration with arranger Johnny Mandel (When I Look In Your Eyes) where his string arrangements provide the perfect platform for Krall s sultry, honey-laced with bourbon voice as she seductively purrs through the bossa nova flavoured Let s Face The Music And Dance and reflectively explores I ve Got You Under My Skin. She confidently moves into Sinatra territory on the previously unreleased lament of lost love, Only the Lonely, with the London Symphony Orchestra. And the swinging quartet tracks before a live Paris audience show what a stunning performer she is. Krall respects these songs and delights in singing them; there s no better way for newcomers to get acquainted with her talents than this set which is coupled with a DVD of concert footage and videos. <br><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"><img src="bitmaps/star.gif" alt="" width="16" height="16" border="0"> </td> </tr> <tr> <td align="right"> by Kevin Jones.<br><span style='font-size:7.0pt'>Previously published in Limelight Dec 07</span></td> </tr> <tr> <t