“Monday Songs” was composed over the course of four years. Andy Liotta, every Monday, would upload a completed track to his website mondaysongs.com. Liotta relentlessly held to this schedule of composing, arranging, recording and editing new pieces every week. This album from Lazy Bones Recordings is the result of those years of painstaking musicianship.

The album begins simply with an acoustic guitar. Different percussion instruments joined in with a steady bass at the bottom. Liotta performed on all the instruments as well as composing and arranging all the music. Liotta also produced the album along with the gifted Scott Schorr.

With all of his performance skills on full display, it is the vocals and the lyrics he sings that stand out in such emotional clarity and distinction. There is an unmistakable brilliance to Andy Liotta and it is impossible, I think, to remain unmoved by what he offers.

“Being with You” is the title of the opening track. There is a touch of Harry Nilsson in his intonation and warmth. The lyrics on this piece, however, are not as charming as his delivery. Despite the light-hearted vocalization, there is a darkness and an obsession that culminates in the droning conclusion “Being with you, being with you, being with you, being with you…”

“Nadine” follows and is an aching work of self-examination. It is beautifully crafted both musically and lyrically. The delivery is astonishing and agonizing.

Liotta made videos of each song on “Monday Songs” and can be found on You Tube, uploaded by Liotta himself. It is a fascinating exercise to see Liotta’s personal vision of each track. Here the album first, then watch the collected videos.

“Fading to Grey” begins with a bit of Country-Gospel with smooth organ and piano but, at the 2:14 mark, an amazing transformation takes place in the bridge. It is moving and uplifting, even after the song returns to the original Country-Gospel groove. This was a piece that made the listener hear the music over the lyrics for, perhaps, the only time on the album.

Liotta is a splendid lyricist. His imagery and turn of a phrase is simply sterling and his diction is crystal clear. “The Weather” and “Gravity” are great examples of this. While poles apart in their messages and structure, that same lyrical brilliance makes them both heavy with the truth.

Then comes “Up, Up and Away” with its melancholy introduction and darkly humorous lyrics. Yet, with all of that, Andy Liotta continues to speak the truth. The melancholy and humor are by no means frivolous. There is a depth that is often disturbing. Reading Liotta’s biography at www.andyliotta.com reveals that in 1999 he spent time (a week) in a psych ward. His ability to lay bare those emotions is remarkable.

“Still Life” is a reflective piece that sounds like a return to the scene of a crime. Not a violent sort of thing, but it rather sounds like returning to a place of emotional catastrophe. Whether it is a return to the parents’ home or a return to his own home, there is a jarring impact of coming back to the place of real trauma. Even if only the remembrance of the death of Thurman Munson or the recollection of a bloody-knuckles incident, it is the reminiscence of things that hurt and haunt.

“Behind the Blue” and “Ghost Story” are also that reflective. It becomes sadly clear just how autobiographical this album may really be.

For all the sadness, however, there remains a whiff of hope, if only in the lightness of the music itself. There is also a certain self-deprecating whimsy that belies the melancholy of the lyrics, especially in “Cry.” “Lost and Found,” on the other hand, is nearly reaching the bottom of fruitless self-examination in all its pain.

The album concludes with an extraordinary surrender in “(Pump Up the) Valium.” It is an incredible piece of music and lyrics. It is a capitulation to numbness. It is powerful and it is profound and it is relentless in its hold on the listener.

Andy Liotta is an imaginative vocalist. As a musician, he is an aggressive minimalist. As a composer and poet he is merciless in his laying bare of memory and emotion. In other words, Andy Liotta is the gentlest of jailers.


Visit Andy Liotta's website at: www.andyliotta.com
Purchase "Monday Songs" here.

Wally Schnalle has been at the drums for over 40 years now. He has taught and written, recorded and performed and has covered the bases from post-bop to avant garde to fusion. And he smokes them all.

After eight albums as a bandleader and performer extraordinaire with Bay Area bands, Schnalle has released “Idiot Fish” with a great line-up of complimentary artists. While Schnalle is an exemplary drummer and technological innovator, he augments his own exploratory ideas with forward-thinking musicians like Hristo Vitchev (guitar), Frank Martin (keyboards) and Joe Constantine (bass).

The first track is introduced by a vocal lead-in that sounds like it belongs to a 1960s educational film (or even filmstrip!) promising innovations in sound technology. This is exactly what Schnalle offers on this album. The track is entitled “Market Fresh” and Schnalle unleashes the inaugural gadgetry. On several tra cks, Schnalle displays a mastery of electronic rhythm machinery. Moving past the technology, however, what catches the listener is that great groove. Talk about in the pocket.

Hristo Vitchev throws in with his incredible guitar and it becomes clear that this album is on fire. Frank Martin’s wild and wailing keyboards expand the dimensions of this techno-fusion beauty. Joe Constantin’s bass is a great addition to the double-pedaling Schnalle who is a fierce propelling force.

The second track is “Breath Takers” and continues the theme of technological development with the spoken quote “What God has wrought” which was the line used to open the Baltimore-Washington telegraph line in 1844.

Vitchev keeps the chops coming while Martin moves from synthesized frenzy to acoustic lyricism and carries the techno-Jazz-fusion across track lines into “Erroneous.” Here, Constantin gets in some great groove time as Martin again gets to carry the melody over Schnalle’s cool and heavy-handed snare. Vitchev joins in on some Godzilla guitar licks to complete the beauty of the beast.

“Ferns” is gorgeous piece of Jazz Impressionism that sounds like it came from one of Hristo Vitchev’s quartet albums. That’s a high compliment. The movement of the piece is memorable and so attractive. The play between Vitchev and Martin is close and fascinating.

Vitchev’s sonorous guitar continues Metheny-like in “Prohibition 21” where everyone gets a turn to shine and groove. Vitchev and Martin again seem to be in perfect lock-step. Cool melodies cascade over a hot rhythm section. Schnalle is a powerful and precise drummer but he also proves himself—on every track—to be a splendid composer and arranger.

That is proven again on “Sleeper Train” with the brilliant push-pull between Vitchev and Constantin. All the while, Schnalle hammers out a vivid and colorful drum pattern. Vitchev slashes out some of his rawest guitar passages and Martin grabs the funk. It is impossible to get enough of this track.

“Poolside” begins with a hilariously pitiful voicemail from a youngster who has decided that “This is too hard for me” and bails on drum lessons in favor of swimming lessons. So, Schnalle keeps a steady, even simple, beat behind Martin’s charming acoustic piano followed by Vitchev’s soaring guitar. Both guitar and piano finish the track in beautifully fine fashion.

“Squanches” is a breakneck pace piece that is reminiscent of Ozric Tentacles’ “Jurassic Shift” at several points in the track. Constantin and Schnalle are on a furious groove underneath Vitchev’s scorching guitar work.

The album closes with “Sweetener,” a techno-funk sweet piece with everyone at their most rattling and rambunctious. It is a relentlessly riveting groove and the virtuosity of the whole group is over the top. What a great end to an album!

“Idiot Fish” is a dramatic assault on the outposts of fusion who many considered abandoned. In fact, fusion remains alive and kicking on this album with Schnalle and company kicking it hard. Schnalle knows how to write it and this band most assuredly knows how to play it.


Visit Wally Schnalle's web site here: http://www.itrhymes.com/ where "Idiot Fish" can also be purchased.

Terry Marshall is a class act. He is an excellent composer and arranger and an inspired pianist. He is also a true gentleman.

Marshall’s 2014 release “Arrival” is energetic, moving and comforting. He has gathered musicians familiar to himself and to Jazz fans in the Washington, DC area. Brothers Leonardo Lucini (bass) and Alejandro Lucini (drums) form his brilliant rhythm section for much of the album. The tightness between them is not unexpected between brothers but they mesh seamlessly with Marshall on piano. Throw in talented guitarists like Ben Young and Kevin Williams, vocalists like Iva Ambush and Kendra Johnson plus a host more of excellent players and you’ve got the makings.

Marshall includes four of his own compositions along with other better and lesser known works. His arrangements echo his own voice and are brilliant revelations of the unique approach that belongs to Terry Marshall.

The album opens with “Teresa,” a Brazilianesque piece that gives a Pat Metheny/Lyle Mays feel. That Brazilian sound will make a return on “Nostalgia.” The Lucini brothers are featured on both tracks (as well as on “Upside Down,” “Being Cool,” “Questions and Answers” and “Arrival.”) They are fine additions to the album.

The vocal works by Iva Ambush and Kendra Johnson are so very different but so very appropriate to the tracks on which they perform. As talented and as entertaining as they are—as are all the musicians—Terry Marshall remains at the gravitational center of the album. It is not just his composing and arranging brilliance, Marshall is a moving performer. His touch on piano and Fender Rhodes are warm and enthralling.

The track list is well-chosen and a varied display of melodies and rhythms with musicians who know how to swing. The vocalists bring the swing, as well.

“Arrival” has everything that Jazz lovers love: lyricism and groove and memorable melodies. There is, however, one thing more that this album delivers…a very memorable musician named Terry Marshall.

"Like" Terry Marshall on Facebook at: https://www.facebook.com/terry.marshall.148?fref=ts
Purchase "Arrival" here: http://www.cdbaby.com/cd/terrymarshall

It is an album of beautiful agony. It is heart-rending. It is exquisite. Even the opening strings which are then joined by the trio is a ravishingly gorgeous introduction. I was not prepared for this. Even having heard it 15-20 times now, I am still not prepared for this album.

The tracks opens with the song “A New Day” and so it is. The brilliant trio assumes the lead with the orchestra moving to support and a new day is indeed heralded.

Yoann Schmidt on drums and Matyas Szandai on bass combine to form a mesmerizing rhythm section for this adventure. Their contributions are undeniable as Thierry Maillard leads the way on piano.

The second track is “Beyond the Ocean 2” is a gentle and lyrical turn. In fact, the piano trio which backing strings create a tale of agonizing separation and desire. Szandai’s bass is sweet and sad before an energetic middle section. The song ends as it began with the feeling of longing continuing past song’s end. Such magnificent melancholy!

“For Bela” opens with haunting woodwinds which are joined by the string section. It is a strident piece of delightful determination. Maillard proves himself to be a master of orchestration, as well as composition and performance.

“Les Danse des Vickings 2” sets off with Didren Mahlerbe’s woodwind arpeggios. Szandai’s bass solos are imaginative with Schmidt’s understated drumming. This is the piece that first shines a brilliant light on Maillard as piano performer. A riveting tight swing with Szandai’s flashing cymbals and thunderous drumming make this a landmark piece for Maillard.

The twin pieces “Chichen Itza Intro” and “Chichen Itza” are the most impressionistic of all the tracks on the album. The Intro is slow and reminiscent while part two is more alive and vibrant. Part one looks back but part two moves you back in time to see Chichen Itza in its energetic loveliness. It is truly a romance amid the ruins. By the end of part two, we are awoken from our reverie to face the ruins once more.

“Idée Fixe” offers a presto piano trio intro until the cello moves in with a slower pace. The resumed trio plus cello is an adventure in percussiveness. Set up by the bass and drums, Maillard attacks with piano hammers in pounding pulchritude. This is one of the most rewarding tracks of the album.

The thunder surrenders to tenderness on “It’s Over.” Didier Malherbe again creates—alongside Maillard—a delicate dance of dismay which pioneers the way for the orchestra to follow. Once again, Maillard’s orchestral arrangement is superb. The joining piano is enchanting and the mournful cello sets up the departure as piano and orchestra close the piece in the simplest and saddest of farewells.

“Montreal,” on the other hand, is invigorating and lively. It is a fascinating, even spell-binding, dialogue of piano trio and orchestra. Maillard’s compositional skills and approaches are magnificent. In the end, the orchestra is bent to the will of the trio.

“Psycho Tic” opens with Dorothé Cornec’s beautiful harp. Maillard’s choice of instruments is flawless. The move to flute and bass with piano and harp is brilliant. The passages between flute-harp-piano and the harmonies shared among them is intriguing and delightful. The bass gets a good run with the harp’s arpeggios behind. The flighty feel of the flute and jazzy piano are paired perfectly. Better than Rampal and Bolling.

Bruno Bongarçon’s guitar is spotlighted alongside the piano on “Albatross.” The imagery of sailors followed by the bird of ill-omen is unmistakable. It is impossible to praise highly enough the writing ability of Maillard. The diversity is astounding, the lush harmonies are overwhelming, the melodies are wonderful. Szandai’s bass moves are subtle and sublime while Schmidt is perfect in his rhythmic choices.

The album closes with the title track, “The Alchemist.” It is the only solo piano piece on the entire album but well worth the wait. Something alchemical truly takes place in the hearing wherein piano structures and the simple metals of melody, harmony and rhythm are transformed into the precious gold of intelligence, emotion and rare beauty.

The final track is a lovely synopsis of the beauty of the entire album. Thierry Maillard’s album “The Alchemist” is exquisite. It is more than beautiful, it is painfully beautiful. Sometimes the stirring of emotions are almost too much to bear. The longing goes so deep. The enchantment is so complete.

The mystery of the delicate affection is nearly too fragile. The only thing more painful than hearing this stunningly emotional album…is to never hear it at all.





Visit Thierry's web site at: http://thierrymaillard.com
"Like" him on Facebook at: https://www.facebook.com/pages/Thierry-Maillard/257918707575253?ref=br_rs

Purchase "The Alchemist" at: http://www.cristalrecords.com/cristalrecords/en/649

Todd Bishop is one of Portland’s vast array of Jazz musicians. He has been teaching and performing for nearly 30 years and has now released his sixth album for Origin Records.

For “Travelogue” Bishop has brought together some old partners and one new addition. Chris Higgins on bass is the new addition and a welcome one, at that.  Higgins straight Jazz approach works incredibly well with Bishop’s own drum work.

Returning for “Travelogue” are Richard Cole on the woodwinds (soprano, tenor and baritone saxophones, bass clarinet and alto flute) and the brilliant Jasnam Daya Singh (formerly Weber Iago) on piano. Singh is one of the most fulfilling and exciting Jazz pianists of our time.

The album opens with “Moving” and is a Bishop and Singh composition. Singh is a fantastic composer as evidenced by his long collaboration with Hristo Vitchev. Bishop is well-partnered with Singh as they create lyrically rhythmic works that highlight both of them as well as their bandmates. All four musicians are given broad moments that allow them to add their own talents to the overall sound. Bishop captures the attention early and often.

“Far and Awake” is a composition by Singh only. The start/stop texture is beautifully transformed into a flowing tapestry of rich and luscious tonality. Singh’s solos are a joy to hear, as always. He never disappoints. Add Cole’s sax and it becomes a work of great exception.

“Ventimaglia”(Bishop/Singh) gives and early forum to Higgins’ bass who sets up the coolest of grooves right from the inception. The nearly Afro-Cuban beats of Bishop keep the piano and sax propelling forward.

“Dom’s Riff” (Bishop) is a hot rhythmic exploration and “Rover” (Bishop/Singh) moves between tight changes and instrumental shifts as Cole also moves between sax and bass clarinet. “Norwegian” (Bishop/Singh), on the other hand, is the most haunting piece of the album. The bass clarinet intensifies the feel and Singh is masterfully intriguing.  Bishop himself is exquisite in his creation of the framework within which the soloists move and create. A fascinating piece.

Richard Cole’s composition “Somnambulist” is almost a tone-poem in its vivid imagery of the sleepwalker. Cole has penned a piece with rare vision and Bishop, Singh and Higgins carry off the piece incredibly well with equal vision and inspiration.

The album concludes with Shields and Butcher’s “Only Shallow.” The track has a completely different feel and expression than the rest of the album. A bit funkier, more intense, it is a fun send-off from Bishop to the listener. The bass groove by Higgins is memorable indeed.

“Travelogue” is brilliant from beginning to end. The musicians are flawless and the compositions are often staggering. Including Jasnam Daya Singh is a sure bet. Bishop has scored again.

Visit Todd Bishop's web site at: http://www.toddbishopjazz.com/
Purchase "Travelogue" at: http://toddbishop.bandcamp.com/

Chiara Izzi has crashed the Jazz party in a big way. Since 2010, she has racked up award after award and received the highest acclaim from Jazz legends. She has swept Jazz contests in her native Italy such as a first place at the Lucca Jazz Donna and a third place at the Chicco Bettinardi, both in 2010, to international fame at the Montreaux Jazz Festival Vocal Competition in 2011 (later opening for Paco de Lucia) and Poland’s Voicingers 2012.

In November of 2013, Izzi released her debut album “Motifs” though Dot Time Records (DT 9026) in New York and has since made appearances in Germany and the United States. “Motifs” is a charming and delightful introduction to audiences who have yet to hear what she has to offer.

Izzi has gathered a splendid trio of musicians in her support and that is made clear from the opening track—a Cole Porter chestnut—“I Get a Kick Out of You.” Her adorably accented delivery is punched up by Andrea Rea (piano), Nicola Corso (bass) and Gino del Prete (drums). Her scat run at the end is a sweet herald of things to come.

“Travessia”, composed by the great Milton Nascimento, is gorgeous in her soulful intoning of the Portuguese lyrics. Again, the trio is stunning in their performance and integration with the vocalist. This was the track that hooked me and not just because I am an admirer of Nascimento. It is because Izzi nails it flawlessly.

She scats in partnership with bass and piano on “El Cacerolazo” and then moves to a beautifully lyrical piece of her own composition entitled “Another Day.” One thing about Chiara Izzi, she makes room for brilliant instrumental interludes from this very fine trio.

She offers more standards like “It Had to Be You” and “My Shining Hour” in her teasingly, lovely idiosyncratic way. Then allows great room for movement for pianist Andrea Rea on the Petrucciani/Izzi number “Cantabile.”

Quincy Jones’ “Stockholm Sweetnin’” is a fine tribute to the man who told her, “Sister, you are very talented.” She and the trio handle the master’s composition exquisitely. They recreate the joy that always seems to accompany a Quincy Jones work.

The album closes on the lyrically moody “Deep in a Dream.” It is a sweet farewell until whatever album may follow next.

Chiara Izzi is charming and her track list only reinforces that sense of her. She is generous in the space she gives her talented supporting trio. Her sense of humor comes through in sweet transparency. She is a talent to be heard, admired and anticipated.

Visit her web site at: http://www.chiaraizzi.com/
Purchase "Motifs" at: http://dottimerecords.mfmmedia.nl/shop/chiara-izzi-motifs/