The Jazz Owl
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Joan Watson-Jones and her "Choices"

4/30/2020

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   Joan Watson-Jones has been working with this band for going on 20 years. Fun is the watchword for this group and Joan wants the world to hear the fun. She calls this album “a collection of life stories…Both my own and friends I have known through the years.”
   It is a collection of 11 songs with nine of them originals with Joan writing the music and the lyrics. With her are Frank Wilkins on Piano who also served as Musical Director, Alvin Terry on Drums, and Dave Zox and Bass.
   Topsy 2 (Drummer Man) is Joan’s adaptation of the Durham and Battle song from her childhood. It gives Alvin Terry centerstage and Joan has a clearly great time as she scats her way out of the song.
   Choices is the story of Joan’s mom, a dancer at Paris’ Moulin Rouge from 1926-24. “She had her own perspective on how women should live their lives,” Joan recalls. The song itself is full of her mother’s rules for living as a woman. The band is remarkably cohesive and very well worth the listen.
   Martin opens with the Spiritual Wade in the Water. That song is generally accepted as a song from the Underground Railroad but first appeared in print in 1901. Joan uses that Spiritual as the springboard into her song about Rev. Dr. Martin Luther King, Jr. and the ongoing struggle for human dignity and universal rights. She concludes the song with the return to Wade in the Water.
   Let Me Go (For Avis) is about “a wonderful family friend who never spoke without drama when wanting to make a point about anything.” For all that, Joan sings this reminiscence with sincerity and fondness. The piano work of Frank Wilkins is sweetly done.
   My Childs Dreams focuses on her father, one of the founding doctors at the Upper Manhattan Medical Group in Harlem. It is cool and straight-ahead Jazz number that evokes images of a man we could not know but come to appreciate through the imagery of his daughter’s song and singing. Your knowledge is your power is an admonition applicable to any father’s daughter. Dave Zox’s bass line is worthy of attention.
   I Ain’t Just A Pretty Face is a whimsical delivery of a serious theme. Terry delivers a military beat that serves to underscore the deliberateness and discipline of her stance. The band must have had some fun with this one.  Joan calls it “just as relevant today as when I wrote it 25 years ago.”
   The First Time We Met is a sweet romance, an original of Joan’s, that starts off with a little bossa beat. The lyrics tell a cute story of the beginning of a romance. The little swing adds a fun twist. The time switches are frequent and fun.
   A Glass of Wine starts off with Zox’s cool bass as Joan sings the narrative of a warm relationship. Wilkins delivers a charming touch on the piano. This is old school romantic Jazz. And I mean that in a good way.
   Time Passes is introduced with a little scat before the lyrics begin in earnest. Once again, the trio behind Joan proves worthy of their pay.
   It’s Been A Long Time Comin’ is about a friend who found love later in life. But the happiness was worth waiting for. The trio makes it easy for Joan to concentrate on her delivery. Another Zox bass solo is an attention-getter. Joan sings with humor but honesty.
   Here’s to Life is the Butler/Mollinary song arranged by Joan and the band. She calls it her “wish to bring the joy of life through music.” Her adaptation of the song is meaningful and sincere. She sings it like she means it.
   And that may be the hallmark of the entire album—sincerity with a touch of humor. That and a skilled and seasoned band who knows what Joan wants.
 
 
          ~Travis Rogers, Jr. is The Jazz Owl

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Markus Reuter - Truce with Fabio Trentini and Asaf Sirkis

4/30/2020

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   The 100th release of anything is something notable but, when it is the 100th release of insurgent record label MoonJune Records, it deserves great attention. More so, when that album happens to be Truce by Markus Reuter (MoonJune MJR100).
   With guitar maestro Markus Reuter is bassist Fabio Trentini (Le Orme, MoonBound) and drummer extraordinaire Asaf Sirkis (Tim Garland, Sirkis Bialas IQ). From a label that has assembled incredible trios for all of its history, this is a Trio to be reckoned with. Individually, they boast a rich history of Progressive Jazz-Rock. Collectively, they represent a vision of the future to make any MoonJuninsta sing with joy.
   The album was recorded in May of 2019 in Catalunya, Spain, and was produced by Markus and Fabio.
   The album opens with the title track, Truce. Markus’ Touch Guitars ® AU8 and Fabio’s Wal Fretless Bass open the track before Asaf comes aboard with his driving, precise, and tonal drumming. Departing from his ambient soundscape proclivity, Markus releases the Kraken within and Fabio and Asaf are in lockstep with him. Sometimes called a “Fripp disciple”, Markus cuts loose from the master and carves a path of his own. This track drives as hard as anyone could wish.
   Swoonage follows and opens with the wash of Markus’ Touch Guitars and the solid backing of Fabio and Asaf. The piece is more meditative, without losing the hard edge. Fabio’s bass lines are powerful and deliberate over Asaf’s straight-ahead rhythms.
   Then comes the funky Bogeyman, with its Bass Synthesizer wonkiness. The trance-like pulses and waves are a fascinating combination. Once more, Markus tears holy hell out of the song structures and indeed becomes a boogie bogeyman.
   Be Still My Brazen Heart is a cool title but that’s not all the track delivers. Asaf delivers his tonal, even melodic, best as Fabio offers up a cool bass line. Markus’ ambient textures serve to highlight the excellent percussion work, making the drums like unsure footsteps in the fog. When Markus does cut in with the guitar, it is layered over Asaf as the two of them exchange impulses over Fabio’s foundation.
   Power Series is just like the title suggests. The Trio crosses conversation between each other and the sound is like the generation of raw energy. The powerful chords and powerful rhythms are not to be taken lightly. But Markus’ lightning flash touches create the static to make your hair stand up.
   The title Let Me Touch Your Batman begs for explanation but the song itself does not. Fabio and Asaf create a cool and funky groove over which Markus releases his Batman. This is Fabio’s most exciting track with Asaf not far behind.
   Gossamer Things finishes the album with harmonic bass lines and a cool groove for Markus to play over. That quirky bass is perfect for the hard rhythm and ethereal guitar. This definitely left you wanting more.
   Release Number 100 from MoonJune. This album was worth the wait.
 
 
         ~Travis Rogers, Jr. is The Jazz Owl

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Portland Jazz Composers Ensemble – EKTA: The Unity Project

4/30/2020

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   The Portland Jazz Composers’ Ensemble (PJCE) is a 12-piece jazz chamber orchestra which commissions and performs original works by its members and by other jazz composers in the Portland music community and beyond. In 2017, PJCE commissioned Jasnam Daya Singh to compose music for the Montavilla Jazz Festival. Jasnam composed EKTA: The Unity Project.
   Taking the Punjabi word for “unity” as the works’ title, Ekta: The Unity Project is a meditation on the oneness of all people and the music is a meeting of the Brazilian choro and samba of Brasil—Jasnam’s birth country—European Jazz and Classical styles, sweet swing, and lush ballads that can only come from the mind and through the pen of Jasnam Daya Singh.
   The PJCE orchestra is: Lee Elderton, soprano sax; John Savage, alto saxophone; Tim Willcox, tenor saxophone; Mieke Bruggeman, bari saxophone/bass clarinet; Noah Simpson and Douglas Detrick, trumpet/flugelhorn; Stan Bock and John Moak, trombone; Ryan Meagher, guitar; Jasnam Daya Singh, piano; Dave Captein, bass; Ken Ollis, drums.
   These are just the people to bring Jasnam’s phenomenal work to life.
   I first came to know and appreciate Jasnam through his work and collaboration with the brilliant composer and guitarist Hristo Vitchev. Jasnam released solo piano albums on his own and he has, in any project, never failed to impress. Ask me to name my top tier piano favorites and you will hear Jasnam Daya Singh on that list.
    Of EKTA: The Unity Project, Douglas Detrick, Executive Director of the PJCE remarked, “The release of this recording in 2020 and the message it implies come during a time of intense upheaval in American life, a time when a true feeling of solidarity is rarer than at any other time in recent memory. Singh’s work posits that unity is an ideal to consider deeply, to celebrate joyfully, and to work strenuously to achieve.”
   That message comes from the very essence and heart of Jasnam. He is a man of compassion and understanding and this work reveals that remarkably.
   The work begins with Prologue. The solo flugelhorn opens the piece with Jasnam, Dave Captein’s bass and Ken Ollis’ drums. Then the entire ensemble joins in with this warm and lush overture. Immediately, Jasnam’s wonderful piano virtuosity becomes evident in measures that would make Bill Evans smile. Ryan Meagher’s guitar is effortless and enticing. The artists capture the richness of Jasnam’s compositions and do not fail in their delivery of that message.
   Edinenie follows. Edinenie is translated as “coming together” or “unification.” The cool corps progressions are a slick musical coming together that give way to cool solos and great horn passages. This was a bouncy number that effuses joy in cooperation.
   Acceptance has sweet passages of trumpets and saxes. Savage gets a very nice solo that segues into Meagher’s guitar before passing off to the trombone. But wait for Jasnam’s singular piano solos. These were worth the price of admission alone. A second round of solos shows the plurality of voices in cooperation, all sprung from acceptance.
   Believing is Seeing is a beautiful ballad that features baritone clarinet and trombone. The phrase is obviously a juxtaposition of the original cliché. The solo piano is a clear declaration of what it means to believe in someone—even ourselves—and in our community of humanity and seeing us as no longer us and them but only us.
   Unueco is the Esperanto word for “unity.” That unity is certainly evidenced n the tightness of the arrangement and performance of the piece. The great rhythms and harmonies are delivered in anthemic proclamation. The solos contribute to the message of the whole and in way detract or divide. In fact, at times, the instruments sound like the chorus of many voices partaking in the unity.
   Oneness is a meditation, a self-reflection of community. The instrumental cries are of one voice. If EKTA: The Unity Project is about unity of the human community, then Oneness is the centerpiece of that theme. The beauty of individual voices contributing to the whole is the very essence of unity from diversity, reminding us that unity never means uniformity. Voices rich, then somber, now flighty, here romantic, there wistful, all become part of the magnetic pull of the music and the theme of solidarity.
   The album concludes with Walking Together. Jasnam’s vision of the human future is not labored or difficult. It is a joyful dance of possibilities and achievement. With all the artists having their say, all the voices expressing themselves, we find that the unity of the whole contributes to the joy of the individual who, in turn, contributes again to the whole.
   EKTA: The Unity Project is not about Utopia—it is not the absence of division but the overcoming of it. Nor is it simply a hope for the future but a vision that begins with coming together, followed by acceptance, and ending in oneness and walking forward together.
   Jasnam Daya Singh is not only a national treasure. He is a global one.
 
 
            ~Travis Rogers, Jr. is The Jazz Owl

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David Cross & Peter Banks - Crossover

4/30/2020

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   Peter Banks left us on March 7, 2013. The music that he and violinist David Cross had been recording was not finished in his lifetime. Fortunately for us all, David Cross has recruited artists from the Prog pantheon to finish the work that he and Peter had begun so many years ago, the 2020 album Crossover.
   Let me come right out and say it: Peter Banks was my favorite of the Yes guitarists. He was there for the first two albums, only to be unceremoniously replaced with Steve Howe. In those two albums--Yes and Time and a Word—Peter was teamed with keyboardist Tony Kaye and drummer Bill Bruford, both Jazzers in their own ways. I had always wanted to see what Jazz expressions were to come from that incarnation of Yes. With Howe, the band took a more classical turn.
   David Cross was who drew me to King Crimson in the first place. David was with that band from 1972-74, for me, the highwater mark of their phenomenal work. Larks’ Tongues in Aspic remains my favorite King Crimson album and David was a key part of that sound. That album also had drummer Bill Bruford, who had departed Yes and joined King Crimson.
   Peter went on the form Flash and David to form the improvisational band Ascend. Their Jazz leanings kept their music on the borderlands between Prog and Jazz and their later bands respectively kept me interested and involved.
   Now David has finished the project begun with Peter before the latter’s passing. Bringing along keyboardists Oliver Wakeman and Geoff Downes, bassist Billy Sherwood, Jeremy Stacey, Jay Schellen, and Pat Mastelotto on drums, David included Peter’s old bandmate Tony Kaye on Hammond Organ. It is a project whose times has truly come.
   For a Jazz fan, all music can be interpreted as Jazz. This is certainly the case with Crossover.
  The album opens with Rock to a Hard Place and features Geoff Downes on keyboards and Jeremy Stacey on drums. David’s violin introduces the melody and shows himself to be a masterful as he ever was. Peter’s guitar comes in with the crunchy stuff and they two of them trade off over the pulsing backbeat. If only these two had hooked up years ago.
   They take an interlude excursion into more progressive sounds before returning to the opening movements and close out with the nod and a wink to their prog roots.
   Upshift takes the duo into fascinating realms of rhythm and textures. Oliver Wakeman (Third person of the Wakeman Trinity) sits in on keyboards and Tony Kaye works his magic with the Hammond. Billy Sherwood (Yes’ successor to Chris Squire) joins on bass and Jay Schellen adds his drum work.
   Sherwood and Wakeman know exactly how to be support David and Peter and the enhance what was already so well done. Tony Kaye’s Hammond work has always been legendary and his work here is both subtle and rich. Through it all, Peter and David retain the focus as should be. Upshift is an excellent piece and worthy of the artists and composers.
   It has been said of Louis Armstrong that what he may have lost in technique, as he grew older, he more than made up with tonality. While David and Peter have lost nothing in technicality, their tonality has leapt so very far ahead of the “glory days.” As evidenced with David’s work with Stick Men on the Midori album (MoonJune 2015), David is better than ever.
   The Smile Frequency with Oliver Wakeman on keys and Randy Raine-Reusch on World Instruments, is gorgeous and evocative. If smiles do indeed have a frequency, then the frequencies of this piece certainly made me smile.
   The development of the song is multi-textual and polyrhythmic. Peter and David have drawn in so many varied elements and create a universal hymn of joy. The smile disappeared only when the song ended.
   The Work Within features Andy Jackson’s sound effects of city life and the sounds of construction to open the song. David’s violin and Peter’s guitar crash like waves over and around the sound effects. Philosophically (or spiritually), the track sings of the ongoing edification of the soul and/or mind as beauty surrounds the process. The effected violin and guitar are colorful and so very enriching.
   I love this song.
  It is followed by Missing Time and is carried forth only by David and Peter. The reverbs and loops create layered expressions. The piece is ambient and meditative. The only thing missing is a discernible time signature. Go figure.
   Plasma Drive sees the additional of King Crimson’s Pat Mastelotto on drums and drum synth with Wakeman and Sherwood. With David and Peter, this is a dream lineup. Plasma Drive has been called the fuel of the future, being able to overcome the inefficiencies of the internal combustion engine. David and Peter have captured that vision of the future and the supporting trio have expanded it. The song is futuristic without losing its foundation in the present.
   Laughing Strange sees the return of Tony Kaye and Jeremy Stacey with Peter and David. David’s beautiful violin intonations are well-paired with Peter’s raw guitar. It is a yin and yang delivery of the message. Peter hands in some cold and choppy guitar phrases against David’s warm and lyrical violin. It is Peter’s most blistering guitar on the album and David’s most languid.
   The album ends with the title track, Crossover. It is fitting that it is only the two of them—David and Peter—on this track. The two of them end the album as they began it, with the push-pull of their approaches and virtuosity. The piece is imaginative and fanciful.
   It is impossible to avoid the wistfulness of what might have been with David Cross and Peter Banks, along with this  lineup, back in the day. David’s violin brilliance and Peter’s guitar work is more beautiful than ever and the support of these astounding musicians with Peter and David make this album feel as monumental as the discovery of the Dead Sea Scrolls.
   Bravo, David Cross, for finishing what you and Peter Banks started over seven years ago. It has truly been worth the wait.
 
            ~Travis Rogers, Jr. is The Jazz Owl

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Gary Husband & Markus Reuter Reveal the "Music of Our Times"

4/30/2020

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   Gary Husband and Markus Reuter were on tour in China and Japan with Stick Men. They had finished their one and only performance in Nagoya, Japan, at the famed Blue Note. Then the world changed. The Stick Men Tour (with Tony Levin, Markus Reuter, Pat Mastelotto and special guest Gary Husband) was abruptly canceled. Producer and MoonJune Records owner Leonardo Pavkovic quickly booked studio time in Tokyo before the return flights of Reuter and Husband. The results--Music of Our Time--are something extraordinary.
   Gary Husband is among anyone’s top drummers list. Many, however, forget what a remarkable pianist he is. In fact, it was a pianist that he was touring with Stick Men. With guitar maestro Markus Reuter, the two joined their musical chemistry and incredible humanity to record this improvised masterpiece. Music of Our Time is a work of exquisite beauty and rarity.
 With Gary on the acoustic piano and Markus on TouchGuitar ®, the duo releases the doubts, fears, love, and hope that permeated the time of impending isolation and uncertainty. What they have offered up is a testament for our times, an emotional freezeframe of the music of our time.
   The album opens with Colour of Sorrow. The first notes heard are from the Fazioli F212 Grand piano at the NK Sound Studio in Tokyo. Markus joins in with the TouchGuitar AU8 and a tapestry begins to be woven. In this haunting and lovely soundscape, the sadness is palpable. For over 10 minutes, Gary and Markus create an atmosphere that causes the faces of friends known and unknown, caught in the midst of a pandemic, to appear unbidden. Images of hospitals and masked healthcare workers rush before our eyes, born on the wings of the music.
   The symmetry and understanding between the two masters are ineffable. The beauty is profound.
   Across the Azure Blue opens with what sounds like a reminiscence of Debussy’s La cathédrale engloutie (The Sunken Cathedral). Markus and Gary trade expositions and complements and it is made clear that the musical opportunity seized by Leonardo has yielded unimaginable rewards. Imagine a dialogue between Shakespeare and Goethe. This is the musical equivalent.
   The title track, Music of Our Times, follows. The poetic movement of the improvisation and the interplay of the duo is intoxicating. The full chording of the piano and washes of the guitar are rich and moving.
   A Veiled Path comes to us as the uncertainty of our times. We know that we are moving forward but we have no idea of the obstacles and challenges before us all. In the piano work, the underlying pattern seems certain, even inevitable, but the shadowy tones cast by Markus and the unexpected stabs of the piano heighten the sense of not-knowing what is to come. As the piece moves forward, a constant unraveling of the structure occurs and it is precisely what played out in the days since March 3, 2020, when the track was recorded. Musical prophecy.
   The penultimate piece is White Horses (For Allan). Guitar legend Allan Holdsworth died on April 17, 2017. Gary called his friendship with Holdsworth, “the most significant musical relationship of my life.” On Allan’s passing, Gary wrote, “With Allan I had the invitation to literally invent. I knew it was totally unique music. Yet strangely it was music I felt instantly - almost as naturally as if it had come through me.”
   The very same can be said of Gary’s work with Markus. The musical invention between the two of them is unique and instant and so very natural. This elegy to Holdsworth combines all the best hallmarks and highlights of what the maestro espoused.
   The wonderful album concludes with Illuminated Heart. Herein lies the hope—the hope of a future understanding gained by humanity in the wake of tragedy. It is the most uplifting and optimistic piece on the album. Markus keeps a sustained crest of the wave in the background as Gary explores the troughs of the wave. Surges from Markus create reflections of understanding. The melodic development from Gary calls the mind the best improvisations from Keith Jarrett.  It is a warm and flowing and, in the end, a welcoming view of the future.
 
  
             ~Travis Rogers, Jr. is The Jazz Owl

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LP and the Vinyl are "Seen and Heard"

4/25/2020

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   I’ve been a fan of Danny Green for quite some time now. His trio’s Altered Narratives was on my Favorites of 2016 list and 2018’s One Day It Will ranks as one of my all-time favorites. In the review of One Day It Will, I wrote, “And just when I thought Danny Green’s Trio had outdone themselves with 2015’s Altered Narratives, they release One Day It Will, their third album on OA2 Records. It is the very same brilliant trio of Danny Green on piano, Justin Grinnell on bass, and Julien Cantelm on drums. In fact, they have been together since 2010.”
   On One Day It Will, Danny & Company added a string quartet from the San Diego Symphony. The latest project brings a return of that great trio with the remarkable addition of Leonard Patton on vocals. That assembly is called LP and the Vinyl and their album is Heard and Seen (OA2 Records OA2 22180).
   Good God, ya’ll. I can’t get enough of this album.
   Here’s the premise. Danny and the fellas have arranged and rearranged a collection of songs from Jazz, Pop, Rock, and two originals that have that inimitable instrumental stamp but also Leonard Patton’s heart-felt and charming vocals.
In other words, this band has expanded their musical scope yet again.
   The album opens with Danny’s solo piano to start The Lonely Band, an original by Danny and Leonard, before Justin and Julien hop aboard with bouncy rhythms before Leonard joins. Once again, I was hooked from the start.
   After almost 10 years together, the syzygy of the core trio is unmistakable and irresistible. Julien Cantelm’s drumming is so tonal and it is wrapped beautifully with Danny’s piano. Justin Grinnell’s supportive bass lines pop opposite Julien’s rimshots and he gets off a cool solo in the mix.
   Leonard Patton’s vocal delivery is casual but precisely punctuating. He’s good.
   During my first listen of each album, I try not to look at track-lists. I like to be surprised. So, imagine my surprise when the second song starts off with a brief but warm washing of tone colors before hearing Leonard begin singing the lines,
    It's a God-awful small affair
    To the girl with the mousy hair…

   If you’re a David Bowie fan—and I am—you know that it is Life on Mars, maybe my favorite of all the Bowie songs. But Bowie’s voice was younger in those days and his Spiders from Mars band was more pop/rock. So, to hear the trio’s Jazz treatment with Leonard’s soulful lyricism is intoxicating. I mean, these guys sell it—one and all.
   Danny is one of my favorite pianists ever. His melodic touch is exquisite. His work on Life on Mars sent shivers down my spine. I mean that in a good way. Put the two Js and Leonard’s intonations with him and it is something wonderful.
   The next track was equally surprising with the Beatles’ song Fool on the Hill. The McCartney-crafted melody yields beautifully to Danny’s Jazz arrangement. The trio takes ownership of the bridge section and offers something extraordinary to Beatles fans and Jazz fans alike (not that those are mutually exclusive groups). This song alone was worth the price of admission.
   My One and Only Love (Guy Wood and Robert Mellin) is one of the most wonderful songs among Jazz standards. It has been recorded by everyone from John Coltrane and Johnny Hartmann to Ella Fitzgerald to Doris Day to Yo-Yo Ma to Bob Dylan. Still, with all those interpretations, LP and the Vinyl brings something new to the party. Leonard proves himself equally at home in every genre. Mostly because he makes each piece his own without trying to constrain himself to a certain stylistic delivery.
   Leonard Patton brings his arrangement of Oasis’ Wonderwall to the group. While not that much of a fan of the original Oasis recording, Danny’s piano work and Leonard’s scat vocalizations with the hot work of Justin and Julien can convert the most skeptical listener.
   The surprises don’t stop there. LP and the Vinyl follow up that with the old Tears for Fears chestnut, Everybody Wants to Rule the World. The Jazz approach to this 1985 Pop chart-topper far, far exceeds the reach and range of the original.
   It also makes clear that this trio could make me change Gods, if he tried. Songs that held no allure for me in their original incarnations (sticking with theological language), have brought me into the fold thanks to these four artists.
   Stevie Wonder’s I Can’t Help It gets the Danny Green arrangement and suffers no violence at all. Stevie is more Jazz than the Pop world would like to admit and Danny, Justin and Julien prove it. I went wild for Danny’s piano solo and the tightness of instruments and vocals was brilliant.
   The second original was Danny’s Night Waltz, co-written with Stephen Papaleo. The Jazz nocturne may be my favorite track on the album. The lyrics are lovely and the melody s infectious. I was hooked from the first notes of the solo piano. The interlocking rhythms were intriguing as Leonard poured on the emotion.
   One Hundred Ways was first heard on Quincy Jones’ 1981 album, The Dude, and featured James Ingram on vocals. Danny turns in sweet keys on this one and Justin and Julian deserve their own special listen in the coolest solos of the album. And, seriously, I love James Ingram but Leonard makes you say, “James who?” This was tight and smoking hot. The sweet outro was wonderful.
   And these guys know how to close out an album. They always have. Romberg and Hammerstein’s Softly, As in a Morning Sunrise is the song that concludes the album. I have loved this song in almost every version of it from Frank Sinatra to John Coltrane to Hiromi Uehara and the 40 or so other recordings. But Danny has shaped this standard with phrases that sound like Scheherazade meets Oscar Peterson. Then Leonard turns on the scat and Justin and Julian work their particular magic to fashion what is seriously the most fascinating rendition since it first appeared in the 1928 operetta New Moon.
   But that is what this trio does every time. They take songs to places unimagined by the original composers but still honoring the tradition and spirit of the works.
   One amazing and critical thing to remember is that this album was recorded over a two-day period. From tight arrangements to free-wheeling improvisations, this telepathic trio evolves into an equally intercommunicating quartet with Leonard Patton.
   If there is a group worthy of special attention and reintroduction in Jazz, it is LP and the Vinyl—Danny Green, Justin Grinnell, Julien Cantell, and Leonard Patton. Excuse me while I hit Play Again.

              ~ Travis Rogers, Jr. is The Jazz Owl


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