LaVon Hardison is a Boston Lyric Opera-trained vocalist with two albums (Choices from 2006 and Everyday Gifts from 2008) to her credit. Come Together is her much-anticipated third album and it was worth the wait.

Describing the track list, Hardison says “I was really excited to be able to mix Jazz standards with other songs. Instead of trying to choose songs from a particular genre, I chose songs that have a melody or meaning that tell a story.”

And she chose well. Moving from John Lennon to Billy Strayhorn to Burt Bacharach, she cannot be charged with limiting herself. Indeed, she stretches boundaries in creating meaningful Jazz pieces out of pop hits. She creates an extraordinarily encompassing album of songs we loved during their time but may have set aside. Hardison has taken those songs and pulled them forward and breathed a fresher—dare I say more meaningful?—life than ever known until rendered as Jazz pieces. Somewhere, John Lennon is grinning.

With Ms. Hardison is David Joyner on piano and piano, Osama Afifi on bass, Jeff Busch on drums and Brad Schrandt on flute and sax. These guys add the fire to Hardison’s smoke.

She opens the album with Tomorrow (Strouse and Charnin, composers) from the musical Annie. Forget the little kids from before. Hardison makes this an optimistic piece for adults. The gorgeous flute of Schrandt and the cool rhythm section set up the wonderful and captivating vocals of Hardison. A bit of Caribbean swing enters and the vocal of Hardison just carry you away.

Sunny is turned over to a cut-tempo groove and the soulful intonations of Hardison make this a smoldering remembrance of love and gratitude. Afifi’s bass delivery is excellent with his smooth lines and full stops. Joyner’s piano solo is a bluesy interlude before the piece erupts into a last-minute quick-stepping memory of the original but Hardison’s intonations are just so fine.

Billy Strayhorn’s Maybe is a more straight-up Jazz delivery, like the original. Then again, Strayhorn defined Jazz in many ways so how does one Jazz up a Jazz master? Still, Hardison’s delivery is sweet and sassy. Hearing her smiling through her singing is delightful.

Then comes the unexpected. The Afro-Cuban rhythmic introduction of Jeff Busch with Afifi’s cool-as-can-be bass does not prepare you for the oh-so-familiar opening lyrics “Here come ol’ flat-top…” The piano takes on a little Gospel delivery and rhythm section continues the smoking Latin groove. Hardison takes the psychedelic lyrics and delivers a psycho-Jazz-Blues-Gospel vocal that can only bring a smile. I hit replay on this so many times, my wife walked in and said “Wow, you REALLY like this one, don’t you?” Who wouldn’t? I mean she delivers separate lines in separate intonations. “Here come ol’ flat-top/ He come grooving up slowly” is a Jazz voice. “Got to be a joker/He just do what he please” is Blues and “Come together right now over me” is pure Gospel. John Lennon never imagined Come Together like this. Good God, ya’ll, this was wonderful!

The Burt Bacharach/Hal David number Alfie follows next. The song from the 60s movie of the same name starring Michael Caine was locked into the 60s with no escape…until LaVon Hardison. Bacharach and David wrote charming pieces, to be sure, but Hardison takes a straight Jazz approach and the band is dialed in with her. Joyner’s piano solo is perfectly stated and the rhythm section keeps a cool swing in motion.

Unchain My Heart (Sharp and Powell, composers) was made famous by Ray Charles, the Master himself. She says, “Ray Charles is a huge influence on me. He managed to do country, R&B, whatever—and he always understood the song and made it his own.” The very same thing can be said about Hardison herself, she makes each song her own.

Hardison sees no need—and neither do I—to venture too far afield from the original. What she does, however, is to deliver a sultrier Blues. Charles was strident, Hardison is smoky. The ever-identifiable groove is delivered beautifully by Afifi and Busch. Schrandt contributes a fine sax solo that heightens the Blues feel. Hardison’s laughing-through-the-pain final lines are rich.

Better Than Anything (Loughborough/Wheat, composers) is a spot-on Jazz delivery of the catalogue of beloved things and Jazz wonders. “Better than four sets of Dizzy/ Better than Count Basie’s band/ Better than Rollins and Coltrane bein’ on the stand/ Better than Ella Fitzgerald/ Better than Miles latest news/ Bill Evans’ ballads and Joe Williams’ Blues.” All this is better than anything except being in love. Although I’m not sure about Coltrane and Bill Evans…

Now, while listening to those delightful lyrics and Hardison’s stunning delivery, don’t ignore the cool swing of the band and what these guys are playing behind. Hardison has picked these guys for a reason and they deliver.

Another Bacharach/David piece, (They Long to Be) Close to You—made famous by the Carpenters—makes an appearance. Even the most brain-dead head-banger has to admit a secret love for this song. Hardison deserves a shout of gratitude for resurrecting such a fine song, especially when it is delivered in such beautiful Jazz styling. Hardison’s bent-notes are gorgeous. It made me remember my fondness for the original but it also made think that Hardison has recreated the song in a completely complementary fashion that deserves to be remembered in this approach as much as the original. Again, pay attention to the band also because they have all contributed to this delightful sound.

Some Other Time (Comden/Green/Bernstein, composers) can only be called wonderful. From the opening lines of the solo piano, the piece is a work of utter beauty. A ballad of lost time and a hope for another chance, the Bernstein music is sweet and a bit melancholy. The song is done so well.

It is a fitting piece to close the album. It is as if LaVon is telling her audience that, yes, it has been eight years since her last album and the 35 minutes of this album is not enough to catch up. But the catching up will have to wait for some other time.
I’m not sure I ever fell in love with someone as quickly and irrevocably as with LaVon Hardison. Being raised in the Gospel of the church, being trained in the opera, now delivering Jazz vocals difficult to compare, and with a band that knows how to create what LaVon envisions, has given her all she needs to give her audience an experience of joy, passion, fun and…let me say it…love.
 
 
~Travis Rogers, Jr. is The Jazz Owl
 
 

Dave Hosley has been performing in the Bay Area’s venues for four decades. Time for a debut album. Love for Sale (Diamond Dave Records DDH001) is that debut album.

The first task, then was to gather the right musicians for the album that would features classics and standards from Billy Strayhorn to Burt Bacharach to Carole King and everyone in between…and after. He got them in the persons of Greg Sankovich (piano, organ and Fender Rhodes), Paul Eastburn (bass), Alan Hall (drums), Michaelle Goerlitz (percussion), Lincoln Adler (alto, tenor and baritone saxophones), Dillon Vado (vibraphone), Matthew Hewlitt (guitar), Mike Olmos (trumpet) and Allison Gosmer (trombone). Lincoln Adler and Greg Sankovich arranged and produced the album.

The album opens with Carole King’s I Feel the Earth Move. The drums and percussion create a cool groove to launch the piece. Hosley’s delivery is more staccato in the opening and then takes a more bluesy approach before moving to scat-flavored Jazz. Fun.

Cole Porter’s Love for Sale follows after. Of Porter and some of the other songwriters on the album, Hosley says, “These songs have kept me inspired and employed throughout my career.” His rendition of this Porter classic is spot-on and Lincoln Adler’s sax solo is just the right touch.

I Say a Little Prayer for You is the great Burt Bacharach and Hal David song that was made famous by Dionne Warwick. Sankovich’s piano work is fine stuff. Hosley takes a different approach that Miss Warwick did and he spins it well. Mike Olmos joins in with a sweet trumpet solo that serves as one great interlude before Hosley takes the song to its conclusion. Nice arrangement.

Crazy She Calls Me is the Russell and Sigman hit.  The Sankovich organ is a fine touch with the vibraphone of Dillon Vado as they accompany Hosley. The vibes solo is beautiful. Hosley’s treatment of the vocals is excellently done.

Irving Berlin’s Blue Skies is a classic, for sure. The piano, bass and drums introduction is a good choice.  The song has been done by so many great artists and they all put their own stamp to it. Hosley’s eternally youthful vocal sound is both fresh and reverent to the original. Adler’s sax solo is a good addition. His phrasing is cool. The arrangement is great and Hosley’s vocals are right on.

Rodgers and Hammerstein’s Some Enchanted Evening is a standard that deserves respect and fresh approaches for the rest of human history. The arrangement is cool and I like Hosley’s delivery. Sankovich works the song through the Fender Rhodes and Eastburn’s fine bass is beautifully done.

Crazy (Reverberi, Burton, and Reverberi, composers), Cee Lo Green’s hit, is a more contemporary piece that Hosley believes is deserving of great attention. When Hosley is finished with it, you find yourself in agreement. Organ and swinging bass and drums turn this loose as a Jazz piece and Adler’s sax work adds the exclamation point.

Lush Life by Billy Strayhorn is one of the most wonderful pieces of music ever composed, performed and recorded. After all, it is Billy Strayhorn. The piano, bass and drums accompany Hosley gorgeously, while Hosley turns in an excellent job of phrasing those lyrics.

Something’s Gotta Give by the great Johnny Mercer comes next. It starts with the jumping beat from guitar, bass and drums. Matthew Hewlitt turns in a sweet guitar lead. It is an acoustic guitar, in fact almost all of the instruments are acoustic, according to Hosley, to add to the album’s “authenticity.”

The album closes with Sam Smith’s Stay with Me. It is a recent hit by Sam Smith and Hosley felt that this could be given a great Jazz flavor. Hosley expects that this might be a standard someday. Again, as with Crazy, Hosely treats it that way and indeed makes it into something Jazz. So well done.

What took Dave Hosley so long? He has been treating Bay Area audiences to his talents for four decades. From standards to future standards, carving his own signature in each one, Dave Hosley knows how to treat his subject matter with dear affection and courageous innovation. And he has the voice to do it.


~Travis Rogers, Jr. is The Jazz Owl

Justin Piper serves as a musical director for one band, leads his own trio, and performs frequently on solo guitar. He plays guitars, bass, and Rhodes on his album Avant Funk (justonemusic) with Tom Garrington on drums. All 12 of the compositions on the album are written and arranged by Piper himself.

The album opens with I Fall Down. The solo guitar intro is joined by bass and drums in the laying down of the groove that is woven in and out throughout the piece. The guitar approach is often reminiscent of Progressive Rock guitarists like Roine Stolt—tightly harmonic with fascinating chord changes. His technique is beyond reproach with clean lines and distinct phrasing. Garrington’s drumming is also more rock than Jazz or Funk.

Buzz Book, however, brings a more Jazz-oriented approach with smooth syncopation and a cool groove. The bass and drums are in tight together with the Rhodes. The guitar begins to explore interesting avenues and finds cool expressions in the search.

When I’m Alone is a lyrical and emotional piece that is well-crafted and played beautifully. It has a bluesy edge to the otherwise Progressive/Jazz intonations. His electric guitar overlays the acoustic guitar to create a Steve Howe feel in its pure emotionalism. Beautiful.

Rolling Blue Hill carries a nice, tight groove under Jazz guitar. Garrington has some excellent moments on the drums. This was a standout piece and full of charming chords and cool twists. The 1,1-2-3,1-2 motif is a nice touch.

Big Rock is a rock-themed exercise in virtuosity and rock rhythms. Piper takes on a corps progression approach to the main theme and launches into cool riffs off of that theme. Often working on Martin Barre intonations, Piper then dives deep into fine lines of Funk and even a bit of Gospel.

Two Whee’s opens with a guitar arpeggio that remains a backdrop while Piper’s bass follows a separate line with Garrington’s drums. The lead guitar takes off on intriguing side streets but returns to the main theme early and often. The lead guitar creates fascinating riffs of its own and explores them well.

Somnambulist begins on a cool walking groove. Get it? Nice tongue in cheek approach to the title. The rhythm section keeps the walking while the guitar takes a dream-like tone, both broken by interludes of intentional stumbling. Garrington gets in some interesting strokes beneath the walking bass lines. This was a favorite.

What’s This? is a hard-driving groove with even chording from Piper’s lead guitar. The chord changes are full of interesting choices and I mean that in a good way. The proficient runs are tight and intense. Nice work.

Yo Yo Pop has a snappy intro that leads into a complex rhythm/strum pattern and nice work on the Rhodes, being in lock-step with the main theme. It offers some cool moments of lead guitar and sweet swing.

Could I Have a Redo? opens with an acoustic/electric guitars duet. The drums join in gentle background rhythm. I enjoyed the melody and movement of the piece. The tempo picks up and the rhythm section steps forward while the electric guitar takes the lead. The duet returns in complementary tones and phrasings. Sometimes in life, we need a redo. But not here. Piper got it right the first time.

Look at the Tars is a stinging piece with geared-up guitar and driving bass and drums. The electric guitar is again more Progressive than Jazz. That’s not a bad thing. I like Progressive.

At the mid-point of the song, Piper breaks away from the main theme and takes rewarding risks before returning to the main theme. In the final section, he again breaks away into expressive thoughts and cool conclusions.

The album closes with Tonic Immobility. This is a cool foray into Eastern melody and structure. Piper saved the best for last. Garrington lights up with some of his best work. I was digging some of Garrington’s rhythmic choices and break lines.

Meanwhile, Piper follows a break-neck pace that works extremely well with Garrington’s rhythms. The harmonic guitars are on fire. The Rhodes picks up the theme and fades out momentarily before fading back in with it. The bass and drums rejoin the slower development of the resurgent theme. The electric guitar resumes its lead but moves away from the theme as the song and album fade out.

Justin Piper has composed deliberate and fascinating pieces full of excellent rhythms, tempos and melodies. Tom Garrington supports him successfully and with dedication to Piper’s vision. Avant Funk emerges as an album of fine artistry and the beginning of a musical quest that we should follow with rapt attention.




 
 
~Travis Rogers, Jr. is The Jazz Owl
 

Mac Gollehon & The Hispanic Mechanics (True Groove Records) is Gollehon’s 9th album as a leader but he has appeared on over one hundred—I said hundred—albums with massive hits from David Bowie and Duran Duran to Rick James, Mick Jagger and so many more.  And never forget: Miles Davis referred to him as “Chops.” Yeah, take this guy seriously.

Gollehon brings all the influences of Jazz, Salsa, Blues and Funk to bear. But what Gollehon delivers here is bone-crushing Latin Funk. Pure and simple. Well, maybe not so simple. It is like the love child of Chemical Brothers and Tito Puente.

Mac Gollehon performs on trumpet, trombone and vocals. With him are Tomás Doncker, Tina Torres, Miguel Valdez and Josh David on vocals, Miguel Valdez, Baba Don and Ronnie Roc on percussion, Mike Griot on bass, Tomás Doncker on guitar, and Afrikan Sciences (Eric Porter) as DJ.

No More Drama opens the album in a glorious cacophony which breaks immediately into thunderous percussion and beautiful horn blasts. The voice chants “No.More.Drama” and the chorus answers “No more…” The hook is the groove. It is Techno. It is Latin. It is Funk. The horn punctuates the rhythm and chorus and the rhythm and DJ carry the piece to the end. WOW!

Amor Tragico follows with Tina Torres’ powerful and gorgeous vocals supported by the male chorus. Mac Gollehon’s trumpet cuts through the voices in staggering power as the percussion locks down the beat. Gollehon switches to trombone then back to trumpet and you just can’t get enough of either. The trident of percussion, horns, and vocals skewers you. The cool bass ending from Mike Griot is a sweet close.

Exito Obscuridad has tone-perfect trumpet work from Gollehon over the sublime rhythm section. His phrasing is lyrical and the melody is splendid. This is a beautiful arrangement and flawless performance. That lyricism continues as Gollehon stretches out the melodic lines languidly over his vocal interjections. His horn delivery brings to mind great like Hugh Masakela. The unbroken percussion is spot-on for the beautiful trumpet lines and the throbbing bass of Griot.

Dale Jamon opens with a female chorus and horn intro before the onslaught of the rhythm section. Griot’s bass lines are front and center and worthy of the attention. The male chorus answers the female voice and the trumpet again cuts through in high and precise delivery. Gollehon answers himself and the rhythm section thunders forward again with the male and female voices in the familiar call-and-response. Doncker’s electric guitar surges forward until surrendering the close to the horns.

Griot gets to open Il Aceite with punchy bass lines and an accompanying pulsating drum work. The rhythms are hair-raising and the muted trumpet recalls Miles Davis early Fusion days. Doncker returns with the cool guitar licks that enliven the driving Funk. There are twenty things going on at once and they are all deep in the groove. Bone-crushing, like I said.

Elegancia follows with a…well…elegant rhythm and trumpet. The male voices are off-set by the high-pitched trumpet. The enthralling rhythm drives the trumpet forward while the preacher’s voice heralds the end of all things. The techno DJ is cool against that gorgeous trumpet. This was one to hear over and over.

Obscuridad (David Ben Jack Remix) is a stunningly effected remix that carries the original theme but in a more soulful rendering. This was extraordinary. Love the overdubbed horns and the steady-on rhythm section.

Amor Tragico (David Ben Jack Remix) retains those gorgeous vocals of Tina Torres. For those of us who could not get enough the first time, the Remix! The tighter techno remix allows total focus on the vocals before the take-over by the synthesized rhythms. The synth-rhythm breaks for the trumpet interlude and resumes alongside the extraordinary vocals of Torres. Good Lord. This is the stuff my mama warned me about. Glad I didn’t listen to her.

No More Drama (Touchy Feemix) is a blast! Powerful bass lines carry the groove from the start. The trumpet is layered and reverbed into a riff that is so fine. A scratchy guitar here, a piano chord there and vocals that come from everywhere.

The album closes with If Time Allows. The solo open trumpet opens the final track and is answered by the muted trumpet and percussion. The tone and movement of the horn lines remind me of Arturo Sandoval’s I Remember Clifford. The Mark Henry Remix takes over and shapes something more space-techno while the lovely muted trumpet continues unabated. The open trumpet returns to close out the album in beautifully phrased tones.

Mac Gollehon & The Hispanic Mechanics is fun, intelligent, inspiring and provocative all at once. Gollehon has gathered his influences and artists into a cohesive unity that allows for the creation of something riotously energetic and sublimely thoughtful. The power of the percussion and the intensity of the trumpet jerk the listener to attention and compels a hearing. All the while, it is deliriously entertaining.





~Travis Roger,s Jr. is The Jazz Owl
 

Drummer Wally Schnalle has worked with the best because he is among the best. In his third incarnation of Idiotfish, he is joined again by the brilliant Hristo Vitchev on guitar and Dan Robbins on bass. This trio never, ever disappoints. On Idiotfish 3 (Retlaw Records RR-4009-2), Wally composes all of the tracks except for Moonbridge which is composed by Schnalle and Vitchev.

The album opens with Roses Are Drugs. Wally handles the electronics on the intro with Hristo on guitar. Drums and Robbins’ bass join in on this beautiful and expressive piece. The rhythmic patterns are tight and cool, while Hristo’s gorgeous guitar ascends pristinely with exquisite tonality.

The quick full-stop changes the direction in favor of Wally’s incredible drumming while Hristo and Dan Robbins step back momentarily. Wally then falls silent, allowing the guitar and bass to carry the melodic lines forward ever so slowly. Wally rejoins in force and the trio pushes forward together. Tight ending.

Moonbridge starts with a funky beat that is adopted by Dan’s bass line until Hristo moves in with distortion before cleaning it up in such a precise touch. Wally and Dan subdue the rhythms as Hristo sets off in dynamic exploration of the space created by the rhythm section.

The chord choices and changes in the final section are exciting and brilliant. Add to that Wally’s brilliant drumming and this, my friends, is music for the mind as well as the heart.  

Fieldwork is a display of aggressive bass and drums stretched beneath a languid guitar that is attentive and colorful. Hristo, as always, paints in vibrant hues in his masterful guitar-playing while Dan’s bass is more than rhythmic but also adds a drive that is equaled by Wally’s intense drum patterns.

Then, in the blink of eye, Hristo takes on a percussive attack while Dan plays a more melodic line on the bass. The roles are reversed again and the trio drops the tempo to a slow fade-out.

Spun is introduced with electronics and Wally’s drums before Dan kicks in with some of his most imperative bass work. It is melodic and rhythmic at once and takes command of the piece. It is a short piece but loaded with fun and interesting twists.

Here in Your Eyes is a soulful, emotional piece and played that way by the whole trio. The touching guitar is covered by the beautiful bass lines and delicate drumming. The bass often runs in contrapuntal directions to the guitar but it is a work of extraordinary intelligence and warmth. The harmonics are sweet. In one of the most moving passages, the bass offers the lofty movement of the melody in the closing phase of the song. The emotion of the piece is the essence of affection and dedication.

This is followed by Green. There is a bluesy electronic feel to the piece as it opens but the staggered rhythms and odd configurations of chords makes for a fascinating piece of listening material. Hristo’s stratospheric guitar is a thing of soulful beauty. Dan and Wally just nail the odd-metered times and lay a foundation on which Hristo builds a temple to music.

North Road gets kicked into gear with those sweet and funky rhythms of Wally’s. Hristo climbs aboard while Dan and Wally continue to work their rhythmic wizardry. Sometimes you want to just sit back and catch the time signatures of everyone’s playing. The melodies are easy to follow but those rhythms!

And yet, the melodies that this drummer (Wally) writes are fascinating. The chord changes are so interesting and the performance is, as always, sheer perfection. Hristo and Dan work off of each other brilliantly. Don’t get lost in the melody and drumming without paying attention to Dan’s bass playing. He’s got the goods.

Infected closes out the album. The heavy funk from Dan and Wally is picked up quickly by Hristo and he and Dan mirror each other until Dan’s solo. When Dan solos, it is not just the chance to show his chops (and he’s got them!) but, rather, he contributes to the movement and the melody of the song. He adds a little slap-funk when it’s needed.

Hristo tears up the melody with joyful abandon and Wally must be smiling from ear to ear as the album bumps to a close. This was fun stuff!

Idiotfish 3 is the joyous sound of brilliant musicians working together—heart and mind—to bring together the sounds of life and love. These three artists have known each other and performed and recorded together for so long that they are incredibly intuitive with each other. The album is proof of that camaraderie and affection and, together, that affection is shared with those who hear it.
 
 
~Travis Rogers, Jr. is The Jazz Owl
 

Jason McGuire “El Rubio” is a master of the Flamenco guitar who combines that powerful and sensuous genre with Jazz. And I love it. It is an exacting art form and combining it with Jazz yields incomparable fruit.

Terceto Kali is the name of both the trio and the album (Jason McGuire Music). With him in the trio are Paul Martin Sounder on bass and Marlon Aldana on drums. All of the compositions are McGuire originals that incorporate Jazz, Blues and other styles.

The album kicks off with Zardoz. It is performed in a Bulerias style with its fast 12-beat rhythmic pattern. The guitar opens the track (and album) gently and warmly. The flamenco bulerias starts on beat 12 so that the accented beat is heard first. It is considered the best style for improvisation but it requires speed and also a good bit of coordination for the necessary toe-tapping that accompanies the guitar-playing.

McGuire is accompanied by Gypsy vocalist José Cortés in one section as, true to the form, McGuire transitions in and out of several different forms. It is fascinating and it is beautiful and it is powerful.

Ratones Ciegos is a tango but listen to the bass in the intro. Sounder is playing Three Blind Mice! Clever. It is not strictly a tango but is built on a tango. This is a hallmark of the music and writing of “El Rubio.” He doesn’t conform strictly to anything except providing exciting and meaningful listening for his audience.

In the 8:31 of this track, Terceto Kali move effortlessly from one distinctive section into another. The introduction is a rhythmic bit of whimsy that moves into a challenging, dynamic exchange with rhythms and melodic expressions.  The third section is more lyrical with a subdued rhythm and bass line. The distinctive melody is carried seamlessly between the parts. A fourth section allows for the bass to carry a melodic line that sounds like the thematic lines from Coltrane’s A Love Supreme. During that section the guitar is quick and energetic with a recessive melody that is fascinating. The final section begins with explosive rhythm and guitar attack. Sounder’s bass is thunderous and the trio pushes tightly and ferociously to the end.

That is followed by the delicate Romance. Written for his dancer wife, the piece is a lovely piece that is bluesy at one point and elegiac at another. It is certainly affectionate and it evokes visions of care and attentiveness and comfort. Aldana’s brushes create a wash of the cymbals and Sounder’s bass is as emotional as the guitar. A delicate and lovely piece.

Mira Mira started as a rhumba but was unfinished before going into the studio. Liking the beginnings that he had, McGuire presented the piece to Sounder and Aldana who began their own work. Aldana laid down the rhythms and McGuire and Sounder started jamming all over it. You can almost hear McGuire shouting “Mira, mira!” at what was happening. Aldana is on fire with a brilliant release of rhythms as McGuire and Sounder vamp and trade. This was a great fun. This was Flamenco Jazz.

A. Liberty is some of McGuire’s most astonishing and thoughtful guitar. It is gorgeous and emotional and is over far too soon.

Contratiempo… A la Luz de la Luna follows the rondeña style, which is an old fandango style. The story of the piece is adorable. When he was first living with his wife, she asked him to compose a song to which she could dance. He watched a video of her dancing, turned off the sound and composed the piece to her movements. It must have been a beautiful sight because it is easy to imagine the movements of the dancer based on the movements of the guitar. Sounder and Aldana are dynamic in their support.

Tio Paco was written in tribute to the great Paco de Lucia. Instead of trying to mimic Paco (who can?), McGuire decided to honor the Master by adding other styles to Paco’s oft-used alegrias form. The results are a bit of funk (listen to Sounder and Aldana) and even some bluesy Gospel. We all miss de Lucia but he must be smiling someplace, if he can hear this.

Zap is in the Zapateado style and it is a great rhythmic structure upon which to build the melodic lines. The familiar Flamenco guitar sounds bounce off amazing chord changes and intricate rhythmic patterns. The guitar is sublimated to the bowed Sounder bass. The bouncing bow provides an instant of percussive pop before Sounder abandons the bow. Aldana plays subdued as McGuire begins to recover the melody. The trio swings in unison for a few bars and the results are amazing. The pianissimo of the guitar for an extended riff is so fine. This was exciting.

Kali is a return to the bulerias style. José Cortés provides the vocals and palmas and Kina Mendez carries the backing vocals with Manuel Guttiérrez also with the palmas. Cortés co-wrote the music with McQuire and wrote the lyrics. Riotously good fun.

Motivation is a more free-form piece. Still containing elements of flamenco guitar and tight rhythms, the trio follows their own directions and improvisations that include moments of lyricism as well as surrealism. It is expressive and introspective at the same time. It is intriguing and mysterious but captivating.

Terceto Kali is one of the most rewarding albums in recent memory thanks to Jason McGuire’s compositional skills in blending so many various styles always with a view to creating something intelligent and creative, emotional and accessible. The trio of McGuire, Paul Martin Sounder and Marlon Aldana are on an odyssey of musical discovery and innovation and “El Rubio” is their Odysseus.




~Travis Rogers, Jr. is The Jazz Owl
 
 
 
 
 
 

Okay, let me be clear. I cannot get enough of Latin Jazz. I love the distinctive rhythms, the unique melodies, the certain progressions—all of it. So when I receive a Latin Jazz or Latin traditional album, I’m all over it.

Enter Kat Parra’s fifth album, Songbook of the Americas (JazzMa Records JMR1005). A quick look at the line-up and special guests quickens the pulse. The guest artists are Tuck & Patti, the great Venezuelan singer María Márquez and, from San Francisco, Nate Pruitt. The expressive Murray Low on piano, Aaron Germain and Sascha Jacobsen on acoustic bass, Marc van Wageningen on electric bass, Colin Douglas and Daniel Foltz on drums, Michael Spiro and Raúl Ramirez on percussion, John Worley on trumpet, Wayne Wallace on trombone, Lila Sklar on violin, Seth Asarnow on bandoneon and the very impressive Masaru Koga on alto sax and soprano sax, flute, coros and shakuhachi. The shakuhachi is the Japanese traditional bamboo flute. To hear that on a Latin Jazz album is enough to set your hair on fire.

And that, right there, is part of the brilliance of Kat Parra’s arrangements and re-imaginings of these classic songs from the Americas. To use unfamiliar instruments and startling new arrangements of well-known, even beloved, songs is adventurous, imaginative, and creative.

The album begins with (Four) Ever More, Parra’s arrangement of Eddie “Cleanhead” Vinson’s original Four. She turns it into a mambo with lyrics inspired by the Persian poet Rumi. The fine horns of Koga, Worley and Wallace sets a hot flavor to the rhythms. John Worley’s trumpet solo is an exercise in tonality. Murray Low’s piano is spot-on and, with those Latin chords, sets up the Spanish call and response closing of the piece.  Multiculturalism at its finest.

Please Do Something is bassist Aaron Germain’s arrangement of Betty Carter’s original. But Carter didn’t have the smart cha-cha-cha dance swing. Low’s get the cool solo as the percussionists lock down the groove. Parra’s scat adds to the light-heartedness. Furthermore, she has remarkable control and her diction if flawless. It’s so easy to get caught up in the arrangements that one misses just what a fine vocalist Kat Parra really is.

It’s also too easy to miss what these musicians are performing. Aaron Germain’s acoustic bass is always appropriate and straight-up. Masaru Koga’s alto sax is beautiful, as always.

She scats her way into Wouldn’t It Be Sweet? Which is her arrangement of Charlie Parker’s Au Privave. She wrote the lyrics and the vocals over Koga’s soprano sax. His solo is full of fun runs and tight textures. Aaron Germain gets a fine bass solo and reworks the main theme with cool precision. Daniel Foltz drumming is right on it. A great treatment of a great original.

Dare to Dream features Tuck & Patti. Parra and Patti Cathcart duet over Tuck Andress’s soulful guitar. The duet includes a scat dialogue that is warm and expressive. Their pitches are very complementary and the bossa nova style of the piece is completely enjoyable.

Maria Landó was written by Chabuca Granda, the Peruvian composer who married Criollo waltzes to Afro-Peruvian rhythms. Parra and pianist Murray Low arranged the piece for piano instead of guitar and adding cymbals to the cajón whose distinctive percussive sound is augmented by the crashes. Low’s playing of the melody is rich and the coros’s answer to her call adds such great flavor. Sacha Jacobsen’s acoustic bass is warm and touching. Low has some of his most lyrical moments here.

Veinte Años is a smart and lovely trova piece by composer Maria Teresa Vera, a Cuban guitarist and singer. It is narrative and compelling. Murray Low arranged the piece into something more Jazz than the original. But that’s what he got paid for.
The piano opening is smooth and opens the door to Aaron Germain’s bass. Koga’s flute is beautiful as they prepare the path for those luscious vocals of Parra. Lila Sklar’s violin work is a fine addition to the movement and sound.

Low has switched up the times which adds to the complexity and fascination. When Sklar and Koga duet, something extraordinary happens. Daniel Foltz (drums) and Michael Spiro (percussion) are terrific together with Germain. I love the movement of the piece. Brilliant arrangement.

Como La Cigarra was written by Argentine poet and composer María Elena Walsh. Joining Parra is María Márquez, the wonderful Venezuelan singer. The blending of their voices is a fine treat and, according to Parra, “gave the music even more depth and beauty.”

Seth Asarnow on bandoneon added the authentic sound that is so familiar to Argentine music. Raúl Ramirez on percussion joins acoustic bassist Sascha Jacobsen in the rhythm section and Koga’s flute rounds out the unique approach to the original.

Koga’s shakuhachi introduces Besame Mucho. Who could have expected that? In a song recorded thousands of times, one would think it almost impossible to find a new approach. Parra and Low, however, have indeed found new insights into the Consuelo Velásquez original. The shakuhachi intro was just the beginning.

The vocals are far more dynamic than I’ve ever heard. In a beautiful work brutalized by the Beatles and trivialized by Dean Martin, Kat Parra recreates a much more soulful, moving song. Murray Low’s piano is lush against the shakuhachi and the fine bass of Germain and Daniel Foltz’s drums and Spiro’s percussion.

Till There Was You was equally surprising. What you heard in The Music Man is not what you hear here. There are three distinct section is the song: Invocation, Duet, and Resolution.

The song opens with a Canto de Ochún, an invocation to the goddess Ochún—the god of beauty and love. The invocation is a prayer “to help open our hearts to unconditional love.” Parra sings the invocation with María Márquez.

In the second section, Low brings in the Jazz piano as Parra duets with Nate Pruitt beautifully. In the Resolution, the duo and Low erupt joyously with Marc van Wageningen (bass), Colin Douglas (drums), and Michael Spiro (percussion). This was a highlight.

Dame La Mano is a poem by Gabriela Mistral and was arranged by David Pinto. With Parra’s powerful delivery is the delicate Koga flute, the adamant bass of Sascha Jacobsen, the definitive percussion of Raúl Ramirez and the ubiquitous piano of Murray Low. This is tight Latin Jazz, sung exquisitely with flawless instrumental performances.

The closing track of the album is Mambo Italiano was composed by Bob Merrill and arranged by trombonist Wayne Wallace. It is a smoking mambo rhythm. It is vibrant, fun, sensuous, and a great piece to end the album. The horns are hot and the rhythms are riveting. The coros are having the time of their lives, it seems, as Parra says farewll with a “That’s-a nice” to which they respond with “Huah!”

Song of the Americas is superb fun with splendid arrangements and sublime musical performances. Kat Parra, with Murray Low and other arrangers, have crafted an album of amazing traditional pieces, reframed within a Jazz setting, and delivered with exquisite virtuosity and passion.

Opening Besame Mucho with a shakuhachi! Who would have imagined…



~Travis Rogers, Jr. is The Jazz Owl
 
 

Down the Line (Summit DCD 672) is the second album from pianist/composer Bruce Torff. The 11 original compositions reveal Torff to be a composer with a great instinct for Modern Jazz.

Sadly, the album was occasioned by the death of Torff’s childhood friend who passed at the age of 50 years. To deepen the sadness, guest trumpeter Lew Soloff would pass away only two weeks after this recording, making this his final recording.

Joining Bruce Torff on the recording is the brilliant Joel Frahm on tenor and soprano saxophones, the exquisite Pete McCann on guitars, the solid Ben Wittman on drums and the afore-mentioned Lew Soloff on trumpet. Torff himself handles the kicking bass duties with the keyboards.

Torff explains of his composing style, “I usually hear a groove first, either a bass line or a drum lick. I then build layers of melodies and voicings. The main thing is that the music has to be both accessible and adventurous.”

What you hear on this album is proof of that approach.

Enceladus opens with brief piano intro then the groove kicks right in. The vibes-keyboard is a cool sound with percussion and keyboard providing the groove. Joel Frahm gets the early solo on tenor sax. Torff solos with the spacey keys but the whole theme is rounded up nicely with tenor sax and keyboards carrying the theme to the end.

Down the Line is introduced with the piano and acoustic guitar and the drums setting the rhythm. Pete McCann then turns loose with the electric guitar over the funky rhythms. Joel Frahm solos distinctly before McCann takes the hand-off again. The dialogue between them is fascinating stuff and the very essence of Jazz.

Torff calls McCann “an idea factory” and his varied expressions here and throughout the album show you why. His choices are brilliant and the delivery…well, it is Pete McCann, after all.

Wave of Silence is a beautiful, moving piece. The guitar and keys are in fine unison, opening the way for Frahm’s soulful improvisation. Frahm also appeared on Torff’s first album from 2013, Look Again. It is clear to see why Torff brought him back. 

That distinctive groove of drums and bass line jumps from the start of Tribal Function. Frahm is again in the heart of the melody but Torff enters with the hot hand and explodes melody. Not to be outdone, Frahm sets explosives of his own. Torff, Frahm and McCann have a bit of a shout chorus to carry the track out. Fun stuff.

This I Promise You is enough to break your heart. It is tone-poem of sincerity and comfort. Lew Soloff creates a sweet and affectionate declaration of support in the midst of loss. Frahm answers in equal measure in one of the most lyrical pieces on the album. The melody sticks in your head. This was the very last piece recorded by Lew Soloff.

The tempo changes with Well of Tears picks up where Tribal Function left off. Frahm and McCann get in early. The groove is cool and approachable. Frahm’s solo is loose but well-phrased. Torff’s keyboard solo is developed coolly and expressively. I love the movement of the piece, gliding effortlessly and immediately between Frahm, Torff and McCann.

Beginning of the End is beautifully melodic piece with a soft swing and open spaces for lovely solos from Frahm and Torff.  McCann’s backdrop acoustic guitar for the acoustic piano makes for gorgeous lines. The slow and thoughtful interlude accentuates the relief of the Jobim-like melodies of the choruses. Gorgeous.

Don’t be scared but next is The Last Dispatch from the Road to Hell. Full of the requisite good intentions, the song actually makes good on its promises. Frahm gives his only soprano sax solo performance of the album here. Locked in with the programmed drums and keyboards the groove is accentuated by the cross-currents of Frahm’s soprano sax. McCann gives a bit of crunch in the background. Smokin’ piece!

Memoriam was the first composition Torff wrote after hearing the news of his friend’s passing. It carries the sound of more elegy than eulogy. The grief is evident but it does not surrender itself to the pain. Rather, the piece is a celebration of a life and not the agony of a death.

Frahm’s tenor sax and McCann’s acoustic guitar carry the memorable melody together between them. It carries a Brazilian swing, reminding you of the beautiful Luis Banfa melodies. Beautifully rich.

Once and for All carries the same Brazilian touch and groove. Everyone is aboard for this incredible work. Frahm’s tenor sax, McCann’s acoustic guitar, Wittman sitting solidly at drums and Torff works some of his most melancholy, even haunting, piano work on the album. This was one to be played and replayed.

The album is closed out with Early Sunday. Lew Soloff’s trumpet with the acoustic guitar and the distinctive, percussive piano is gorgeous. Soloff’s tonality is intoxicating and McCann switches to electric guitar in sweet transformation. McCann picks up the solo in perfect tone and phrasing. Torff returns with piano before letting Soloff’s trumpet—and indeed Soloff himself—fade beautifully and brightly away.

The album becomes a farewell to two friends but it remains, as said before, a celebration of them more than a burial of them.

Bruce Torff is a masterful and innovative—perhaps even intuitive—composer who builds upon what has gone before without simply recreating it. He goes after the groove and he put the right players in place to brilliantly execute his vision. All of the artists on his album have made plain his vision, a vision of love and remembrance that he allows us to share.
 
 


~Travis Rogers, Jr. is The Jazz Owl

Which Way Now?  (Tone Rogue Records) is pianist and composer Julian Shore’s sophomore album, following his 2012 debut Filaments. By the end of the album, the listener has come to understand that this is not a statement of doubt or uncertainty. Rather, it is a statement of surety—maybe even musical adventurism—from one who can choose any path desired and find equal success in any of those directions.

His core quintet is as tight as one could hope and his list of guest artists is like having great depth on a great baseball club. “Now batting for Hank Aaron…Willie Mays!” With Shore is Gilad Hekselman on guitar, Dayna Stephens on tenor sax, the always fascinating Aidan Carroll on bass, and the brilliant Colin Stranahan on drums. The guest list includes Godwin Louis on alto sax (tracks 2 and 4), Noah Preminger on tenor sax and clarinet (tracks 8 and 9), Michael Mayo and Alexa Barchini on vocals (track 5), Kurt Ozan on guitar, dobro and pedal steel (track 9), Jorge Roeder on bass (track 7), Samuel Torres on percussion (track 7), and Michael Thomason clarinet, bass clarinet, and alto flute (track 3).
Yeah. Hold on.

Most of the compositions are written or co-written by Shore himself with one or two exceptions. And like an Earl Weaver or Tony LaRussa, he puts the right player in the right role at the right time.

The album opens with Our Story Begins on a Mountain. The title was enough to intrigue but the piece itself was a wonder. Written by Shore but arranged by Edward Perez, the strings in the introduction are warm and serve as a fine prelude and accompaniment to Julian Shore’s piano. The movement of the melodic line is fascinating, enthralling. The piano with orchestral background is touching.

Which Way Now? is well-placed in the track list, as if to say “Well, that piece was warm and lovely. Now what?” Instead of changing directions, however, Shore brings the full quintet to bear plus guest Godwin Louis on alto sax. The piece is co-written by Shore and Jean Caze.

Aidan Carroll (bass) and Colin Stranahan (drums) are immediately noticed, as they are anytime they play. Shore proves why he is one of the piano keystones of this generation of New York City Jazzers. Hekselman’s guitar work is in great keeping with the pace and tone set by Shore. The saxophones of Dayna Stephens (tenor) and Godwin Louis (alto) are a blessed blend of tone and fluidity from both. Together they create a gorgeous moment and Godwin’s alto solo is extremely fine. Nice for the title track because it is truly one of the highlights of a great album.

Back Home is back to the core five artists. The cool strumming of Hekselman’s guitar opens the piece with the piano softly added. Guest Michael Thomas assumes the lead on baritone clarinet with rich, lush expression and between piano and baritone clarinet there is a beautiful interplay that develops. Shore has got the goods. Michael Thomas weaves in the clarinet and flute which adds a finely threaded enhancement to the collective sound.

But make no mistake, it is Julian Shore who is at the heart and center of all that transpires here. His composition and arrangement created the music that these brilliant artists masterfully perform.

Moss, Mansion, Sandstorm brings Godwin Louis back for his second and final appearance. Again, the alto and tenor saxes are stunning together and apart. Pay attention to Aidan Carroll’s bass with Colin Stranahan’s drums in the introduction. Something fine going on there. Hekselman touches in and out lightly on guitar as Shore works his magic. The structure of the piece is intriguing and the execution is flawless. Such sweet movement.

Alpine is a solo piano piece with vocals from Michael Mayo and Alexa Barchini. Their voices are so complementary and their delivery is so precise that the voices almost create a trio with the piano. Very short but very well done. It forms a fine intermission—almost—for the mid-point of the album. Shore proves himself a proficient vocal composer as well.

Across the Ice brings the quintet back together. The sax is lovely and a bit haunting. This is a melody to love. Of course, the rhythm section continues to fascinate even as Stephens’ sax soars above. This may very well be Stephens’ best moments on the album and that is saying a lot. Hekselman gets in on the action with an extraordinary addition of his own to the melodic lines. Beautiful execution on his part. And Stranahan smokes the daylights out of the final moments of the piece. Well-written.

Con Alma is a Dizzy Gillespie classic number…until Julian Shore is finished with it. It is a fine tribute to Shore’s arranging talent and skills that takes this venerable piece and reshapes it into something that sounds like it was something written for this very album. Jorge Roeder’s bass lines are perfection and Stranahan is his same nimble self, alongside the amazing Samuel Torres on percussion, while Shore’s piano takes the piece and makes you forget you ever heard the horn of…Dizzy? Dizzy who?

Shore co-wrote All Heart with Noah Preminger who makes his first appearance on this track with clarinet. The song is warm and even tender. It is a short elegy by just Shore and Preminger and it is gorgeous.

Pine Needles brings aboard Kurt Ozan on guitar and dobro as Preminger remains and are joined by Carroll and Stranahan. It is a touch of Americana in a Jazz world. Preminger channels his roots with the rest as they work the piece beautifully between New York and Nashville. Got to admit, this one caught me by surprise. In an album entitled Which Way Now?, this direction is as believable and appropriate as any other. The tones and phrases and movement are captivating.

Lullaby is based on a fragment of Faure’s Clair de Lune (No, not the Debussy one). The melody is, of course, exquisite and is finely crafted by the hands of the artists. The piano and tenor sax are sweet together. The fade-out to the song, and the album, leave a stillness and peace that is palpable.

Julian Shore explained that he “wrote with the members of my band in mind” and “there came a point in the process of the record where I entrusted the music to them, knowing it would flourish in their hands.” That is what makes a leader.

Which Way Now? is proof of Julian Shore’s leadership skills in a Jazz band. He wrote incredible music, performed his piano brilliantly and let the band make their own artistic contributions based on their own considerable talents. I said it before and I’ll say it again, it is Julian Shore who is at the heart and center of all that transpires here. His name belongs among the leaders of the young Jazz piano scene.



Travis Rogers, Jr. is The Jazz Owl
 
 
 
 
 
 

Restless Idealism (Origin 82705) is the title and theme of the second album by saxophonist Roxy Coss. It comes from something that Hunter S. Thompson once said, “It was the tension between…two poles—a restless idealism on the one hand and a sense of impending doom on the other—that kept me going.” It is that notion that gives such impetus and, dare I say, fearlessness to the music that Roxy Coss composes and performs.

She gained a name as part of trumpeter Jeremy Pelt’s group and developed her own sound and leadership skills during a residency at Smoke Jazz Club in New York City, where this music was developed. Now Jeremy Pelt lends his remarkable talents to Coss’s cause along with the fine talents of Christ Pattishall, guitarist extraordinaire Alex Wintz, the inimitable Dezron Douglass on bass and, on drums, the sought-after Willie Jones III. Impressive and expressive, each and every one of them. Just a quick glance at the line-up makes your heart skip a beat…or two.

Sure, you can name several obvious influences like Coltrane, Shorter, the Jazz Messengers and more but, like Bruce Lee learning many different styles under different teachers, she has carved her own very distinctive sense and style of explosive expression that, again like Bruce Lee, will just beat your brains out. However, unlike Bruce Lee’s opponents, you will love every second of it. And now I have run that metaphor too far.

The album opens with the double-entendre titled Don’t Cross the Coss. As she reveals in her liner notes, Coss frequently has her name misspelled or mispronounced to Cross. Not only that, she continues, “I have strived to not be run over by the world.” In other words, do not mistake her name but don’t underestimate her, either.

Don’t Cross the Coss is straight-up Jazz. No frills, nothing cute, a frontal Jazz assault. I love it. Everyone is in on it from the start. Immediately, you hear Dezron Douglas and Willie Jones III with that tight work and the soft guitar of Alex Wintz in the background and Chris Pattishall’s piano in support. Coss gets the first solo, followed by Pattishall. I’m all in. That’s even before Jones takes his solo. Coss tone and delivery on the tenor sax is rich and fluid. This is excellent stuff.

Waiting comes next with the beautiful tones of Coss’s tenor sax leading the way. Coss describes it as the time between gigs or tours and learning to take control of the time. It’s like Robert DeNiro says in the movie Ronin when Stellan Skarsgaard says, “I hate this doing nothing!” DeNiro replies, “We’re not doing nothing. We’re waiting.” The expectancy of the waiting can be tremendously creative, as Coss has now proven.

The patient pace of the piece is full of movement in the midst of the “nothing.” The bass and drums are alive and kicking as the languid phrasing of Coss and the easy-going piano settle the mood. Coss has crafted a gorgeous melodic line that drifts effortlessly while the restless rhythm section pulses and paces. Pattishall offers a great piano solo that is so fine. Wintz’s guitar solo is as dynamic as we expect from him. Beautiful runs and ascending riffs. Waiting is not doing nothing. Coss makes it active and even adventurous.

With what has been learned in those periods of waiting, the drive to Push arises. Push is the next tune and Jeremy Pelt’s trumpet is like the bugle call to strive forward. Coss’s tenor sax answers that call and makes the same forward charge. Again, the rhythm section is smoking hot and Jones’s interludes are answered by trumpet then sax, then around again. The quintet pushes the theme to the end and closes the piece in unison. Nice.

Perspective follows next. What seems to take shape is an autobiographical them or, at least, an anthropological theme. The perspective that follows difficult times, times of doubt or even despair, is the message of Perspective. It is looking back with newly-gained insight or wisdom on what has transpired before.

Douglas’s bass opens the piece for Coss’s sax. The almost-haunting motif is carried by bass and sax alike before the Alex Wintz guitar passage brings its own viewpoint into a more optimistic run. Coss answers with renewed life and a changed mindset. The lessons experienced by the bass remain unchanged but the melodic wisdom has changed the whole…perspective.
Breaking Point focuses on the realization that things cannot remain the same. Roxy Coss herself says it best, “…this can often feel as if we are breaking apart into pieces. The multiple layers of saxophones represent these multiple pieces, our feelings tugging us in different directions until a single resolution is found. Breaking through, is how we feel when we come out of those experiences.”
Those layered soprano and tenor saxophones with trumpet are very expressive. Wintz’s guitar adds a color and texture alongside. Coss solos first with the soprano. Pattishall’s piano is engaging from behind and Douglas and Jones keep pushing the breaking point as Wintz rejoins the discussion. Wintz is a guy who, like Douglas and Jones, never ever disappoints. Breaking Point may be Wintz’s finest contribution on the album.

All that has gone before leads one to realize that Happiness is a Choice. As Coss says, “The most empowering feeling is having control over your own joy.” The piece starts with a bit of melancholy piano and bass behind the thoughtful tenor saxophone. The transition to a more joyful tone comes slow but certain. The piano interlude of like the back-and-forth inner debate that takes place in most humans and, when the sax returns, the choice has been made to relinquish the existential anxiety and seize joy. Exquisite.

Tricky is about situations and people. The quirky turns and changes reveal the situations and people for who they are. Coss is not speaking of seeing the flaws in others in order to reject them but to gain deeper understanding of who and what things are and stop fooling yourself about them…and your own self.

The music carries that message profoundly. The artistry of the musicians drives the message home but without rancor. Pay attention to Pattishall, Douglas and Jones as the piece approaches its conclusion.

The Story of Fiona is about a doomed relationship Coss once experienced, which was described as Fiona and Shrek. This is Fiona’s tale. Coss and Pelt open together followed by the piano. The horns begin their dialogue and they are not going in the same direction. The rhythm section sits back and lets them shriek it out until Shrek is out.

Almost My Own comes from a fragment of a friend’s song that Coss reshaped and reimagined until it was…well…what the title suggests. It is a lovely, lilting piece that is gorgeously harmonic. Douglas’ bass solo is a standout, crafting a narrative of imagination and tenderness. Pattishall’s piano builds on that theme in expansive, melodic ways. Coss takes over with a richly-toned tenor solo of her own. She and Pattishall work wonders together on the theme. A lovely tune.

Recurring Dream is about a dream Coss kept experiencing regarding a certain friend. The friend was always pushing people to be more genuine and true to themselves, she says. According to C.G. Jung, we are the all the people in our dreams. Coss figured that out and realized she needed to be more like her friend, more “genuine and unique.

Indeed, the tune opens in a surrealistic swirl of soprano sax, piano, bass and drums. Pattishall’s percussive playing is like the hammering of a vivid dream from which we cannot escape. The soprano sax ascends in an attempt to understand and to bring harmony to the moment. The resolution is brought about in the incorporation of the theme with the piano, guitar, bass and drums. In the end, the resolution is peace.

Restless Idealism is precisely the tone and theme of the entire album. Navigating the tight line between idealism and impending doom, Roxy Coss finds the middle way of determined purpose. The personal experiences and impressions are brought to full light with the stunning artistry of the musicians in her quintet. Each and every one of them perform with passion and emotion. The album is a work of personal charm and wonder.


~Travis Rogers, Jr. is The Jazz Owl