In the liner notes of her debut album, “One for My Baby; to Frank Sinatra with Love,” Laura Dickinson sets the background and the mood for this incredible album. She writes of when she was 13 years old would listen with rapt attention to Sinatra’s “The Best of the Capitol Years.”

“I remember listening to every consonant, every breath, every nuance in his controlled vibrato, the way he held notes and shaped words and connected phrases where any other singer would breathe, the acting that came through his lyrics… I couldn’t get enough. I learned the notes, the words, the details, and began my self-Sinatra-training.”

She calls him “the true definition of the word vocalist.” And who could argue? So, when Laura Dickinson set out to do a tribute album to Sinatra, she did it beyond mimicry, beyond imitation, she did it by applying what she had learned (and, by her admission, continues to learn) from Sinatra without ever losing herself along the way.

Conversely, what we find in “One for My Baby; to Frank Sinatra with Love” is Sinatra as a platform, a starting point, from which Dickinson launches herself and her interpretations.

The album opens with the James Van Heusen and Sammy Cahn song (arranged by James McMillen) “Come Fly with Me.” Nobody does Sammy Cahn like Frank Sinatra. Laura Dickinson’s soprano, as opposed to Sinatra’s tenor, truly gives the sense of taking off. The ascending intonation of “once I get you up there” portrays the real sense of lift-off.
Alan Steinberger’s piano accompaniment is excellent, as well as the straightforward approach of the orchestration.

“Learnin’ the Blues” (by Dolores Vicki Silvers) was a 1955 hit by Sinatra, arranged by Gordon Goodwin. Sinatra’s version is cashmere and diamonds while Dickinson is emeralds and lace—flips sides of the same coin. It would have been a perfect duet to have heard Sinatra and Dickinson do this song together.

“(Love Is) The Tender Trap” is another Van Heusen/Cahn composition but was arranged by McMillen based on Dickinson’s concept of a Nelson Riddle arrangement. This was from the 1955 movie, “The Tender Trap.”
It opens with the popping brass that continues throughout the piece. Dickinson’s delivery is quicker than Sinatra’s and the orchestra is certainly livelier than the original. The mixing and mastering are greatly improved if for no other reason than improvements in audio technology. All in all, Dickinson has created a brighter, lighter version of the song.

“Guess I’ll Hang My Tears Out to Dry” (Styne/Cahn) is arranged by pianist Alan Steinberger. Dicksinson’s control is incredible. The vocal portamento is gorgeously heart-breaking. Steinberger’s piano and the lush orchestration are indeed memorable. At this point in the album, I was truly hooked.

“You’re Getting to Be a Habit with Me” is a 1932 song by Harry Warren and Al Dubin in the film “42nd Street.” It was recorded by Sinatra in 1956. The easy high notes and the quick descents are delightful and do what only the female voice can do. In effect, her lightness and range make her the female Sinatra. Forget about comparing her with other female vocalists—Dickinson stands her own ground.

“Here’s to The Losers” (Robert Wells/Jack Segal) is arranged by the great Marty Paich and is the swinging reinterpretation of the Gospels’ statement that “the last shall be first.” Again, Dickinson version is up-tempo and is more of a celebration than a consolation as in Sinatra’s version.

“Indian Summer” was composed by Victor Herbert in 1919 and was originally titled “An American Idyll.” In 1939, Al Dubin wrote the lyrics and the song became known by its present title. Sinatra recorded it with Tommy Dorsey’s orchestra a year later. It is a true standard.

Dickinson’s warm, and sometimes melancholy, delivery is just stunning. Her diction is crystal and her pacing is spot on.

“You Go to My Head” was composed by J. Fred Coots in 1938 but was not recorded by Sinatra until 1946. The present arrangement by Alan Steinberger is much Jazzier with Neil Stubenhaus’ electric bass and muted trumpets. Ray Brinkler on drums works the cool swing with the bass.

Above it all, Dickinson’s vocals soar, sounding as much like Sarah Vaughan’s version as Sinatra’s. Dickinson is intoxicating.

“How About You?” is delightful. Hearing a young vocalist intone the names of Gershwin and Garbo may sound anachronistic but she deliberately balances that by naming Seth MacFarlane later. Charming. Absolutely charming.

“The Best Is Yet to Come” is a 1959 piece by Cy Coleman and recorded by Sinatra in 1964 with Count Basie under the direction of Quincy Jones.

The song was originally written for Tony Bennett but who could fail to remember anything done by Sinatra, Basie and Quincy? This is the one track of the album when Dickinson sticks closest to Sinatra’s version.

“I Only Have Eyes for You” is another Harry Warren/Al Dubin piece, written in 1934/ Most recently—1975—it is remembered as Art Garfunkel’s U.S./U.K. hit. Sinatra recorded it in 1949 and again with Basie in 1962.

Dickinson’s version is an arrangement by herself and guitarist Danny Jacob. Jacob’s acoustic guitar opens the track and accompanies (with only a solo electric guitar interlude) Dickinson throughout the album.

Dickinson’s vocals are completely different from all previous versions. In fact, let me say it, this may be the finest version ever recorded or, at least, it is my subjective favorite.

“My Funny Valentine” is, of course, the Rodgers and Hart standard. This was also arranged by Dickinson herself. Neil Stubenhaus on electric bass is the beautiful accompaniment to Dickinson’s vocals. This is one of those standards that, if you’re going to cover it, for God’s sake, do something different with it. Dickinson does exactly that.

This is more wistful, more thoughtful, than the Sinatra version…or Chet Baker…or… Dickinson is an amazing vocalist but she is also a superb arranger.

Then, at the halfway mark, the bass takes on a Jazz-Funk feel and Dickinson turns on the sweet Soul. This one got me in a big way.

“I’m Gonna Live until I Die” was a 1955 Capitol Records single for Sinatra, composed by Kent, Curtis and Hoffman. Amazingly, the single never charted for Sinatra.

Dickinson follows a more R&B approach with the scratchy electric guitar alongside the orchestra. The rhythm section is certainly more R&B as the band follows a hard-swing. Dickinson, however, gets all the attention with her life-affirming, “never-say-die” vocal attack.

“All the Way” is one of the most romantic songs ever. Sinatra set a high bar for all who would follow but Dickinson clears the bar with space to spare.

The James Van Heusen/Sammy Cahn composition is extraordinary and Laura Dickinson does not fail the piece. In fact, she enhances what was believed to be a piece that could not be enhanced. The result is staggering.

The album concludes with the title track, “One for My Baby.” It is a Harold Arlen/Johnny Mercer number that is arranged by Dickinson and Vince diMura (who accompanies on piano). It is a brilliant expansion of the Arlen/Mercer original.

Dickinson opens all the stops in her range and power and control. She just might have saved the best for last. You decide.

Laura Dickinson’s “One for My Baby; to Frank Sinatra with Love” is more than a mere tribute. It is both a musical biography and an autobiography, all encapsulated within 15 songs. What we heard from Sinatra—the breathing, pacing, control—is heard on this album but they are not applied in the same way. She has taken Sinatra’s palette and his brushes but she paints a different picture. It is a self-portrait of someone extraordinary and lovely.



Travis Rogers, Jr. is The Jazz Owl


To follow more great music, check out bluejazz.com

When one thinks of Ben Paterson, it is Ben Paterson the brilliant pianist. On his 2015 release, “For Once in My Life,” Paterson is showing his equally brilliant talent on the Hammond B3.
 
Joining Paterson on this album is the Power (George Fludas – drums) and the Glory (Peter Bernstein – guitar). What a trio! Every solo is a treat and the unison playing is tight.
 
Taking on classics and Paterson’s originals, the trio is imaginative and creative in the Blues-laced Jazz. Plus, listening to the rhythm section of drums and Paterson’s kicking bass on the B3 is exciting stuff.
 
In Neil Tesser’s excellent liner notes Paterson states his enjoyment in being “the bass player, which is great. Even when I was just learning the piano, I would often walk a bass line with my left hand…And organ allows me to really show off my strengths, to expand on what was already my own style—the walking bass, the combination of tone and rhythm—and to emphasize Blues, Soul and Gospel. My favorite Jazz has always mixed those together.”
 
He proves that well and often throughout all of “For Once in My Life.” His Chicago-flavored Blues and New York Jazz with Philly soul show the influences of the three cities that have cast such an illuminating light on Paterson.
 
Again in the liner notes, Tesser begins with “This is a tale of three cities.” And so it is.
 
The album opens with Ray Bryant’s “Cubano Chant.” George Fludas jumps into the Cuban rhythms as the introduction and propulsion of the track.
 
Sure enough, that bass line laid down by Paterson is powerful and works well alongside Fludas. Peter Bernstein’s guitar is Blues-cool flavored Jazz and he is a smooth set-up of Fludas’ drum solo. The conclusion from the trio is gorgeous.
 
“I’ll Close My Eyes” (Billy Reid) is a classic tune that is beautifully handled by the trio. Fludas’ brushes and Bernstein’s strumming are a warm backdrop for the popping punctuation of the B3. Bernstein’s guitar solo is lyrical and charming. Paterson, however, keeps up the emotional quality of the piece.
 
Paul Simon’s “50 Ways to Leave Your Lover” is hallmarked by the Steve Gadd military cadence. Fludas completely abandons Gadd and strikes off on another pattern. It becomes an entirely different song. Yes, the B3 and guitar follows near to Simon’s vocal lines but they work it from different angles and, honestly, they create an arrangement superior to the original.
 
Arthur Hamilton’s “Cry Me a River” doesn’t venture too far afield of the original but the tempos and instrumentation make for excellent diversion. Paterson owns this one.
 
Unless you’ve been on Mars for the last fifty years (and even that is not a guarantee), you’ve heard Stevie Wonder’s “For Once in My Life.” Paterson took on this piece, using it for the title track of the album, perhaps to describe his once in a life (so far) use of the organ.
 
The melodic line certainly follows Stevie but Fludas makes it swing with Paterson and Bernstein smoothing it out. Then—oh, yeah—here comes the Gospel. Followed by a moment of samba before Bernstein’s lyrical celebration. And you have to pay attention to Fludas’ backing of that incredible Paterson performance.
 
Sonny Rollins’ “Decision” is another rhythmic exploration like “Cubano Chant” before. For all of that, the melodic lines are fine and memorable.
 
This followed by Horace Silver’s “Nutville.” This may be the rhythmic highwater mark of the whole album. Fludas’ plays like his throne is on fire and Paterson’s bass is in agreement. B3 and guitar are splendid in their melodic expression. This is the tune that sticks in your head.
 
That is, until you hear the Paterson original, “Blues for C.F.” C.F. is Chris Foreman, the organ master who, according to Paterson, showed him “what the instrument is capable of.” Smoking hot Blues, “Blues for C.F.” is a fond tribute to the talents and inspiration of the Chicago Blues giant.
 
One small touch I really admired was that the track faded out, as if to signify the ongoing inspiration from Chris Foreman.
 
It is followed by another Paterson original, Near Miss.” Fludas’ understated colors are an excellent foundation for the sweeping melodic work of Bernstein. Paterson has written a piece of harmonic beauty with rich tones and warm delivery.
 
“We’ll Be Together Again” (Fischer/Laine) is wistful with an ever-so-slight touch of melancholy. It is slow and hopeful and very emotional. The even pacing gives Paterson ample room to brightly paint a future of what may be against Bernstein’s view of what will be.
 
Frank Loesser’s “I’ve Never Been in Love Before” concludes the album cheerfully and in a lively way. It is colorful and energetic and the trio carries it off wonderfully.
 
Ben Paterson’s “For Once in My Life” is well-chosen with originals and classics that allow him to shine a bright light on his talents as a composer and arranger. In this, his debut foray into the Hammond B3, he brings the brilliant talents of Peter Bernstein and George Fludas who also take ownership of the music. Together, this trio gathers from a wide net of influences that make this something special. Dear God, let there be more from these guys.
 
 
 
 
~Travis Rogers, Jr. is The Jazz Owl
 

When one thinks of Ben Paterson, it is Ben Paterson the brilliant pianist. On his 2015 release, “For Once in My Life,” (Origin 82700) Paterson is showing his equally brilliant talent on the Hammond B3.
 
Joining Paterson on this album is the Power (George Fludas – drums) and the Glory (Peter Bernstein – guitar). What a trio! Every solo is a treat and the unison playing is tight.
 
Taking on classics and Paterson’s originals, the trio is imaginative and creative in the Blues-laced Jazz. Plus, listening to the rhythm section of drums and Paterson’s kicking bass on the B3 is exciting stuff.
 
In Neil Tesser’s excellent liner notes Paterson states his enjoyment in being “the bass player, which is great. Even when I was just learning the piano, I would often walk a bass line with my left hand…And organ allows me to really show off my strengths, to expand on what was already my own style—the walking bass, the combination of tone and rhythm—and to emphasize Blues, Soul and Gospel. My favorite Jazz has always mixed those together.”
 
He proves that well and often throughout all of “For Once in My Life.” His Chicago-flavored Blues and New York Jazz with Philly soul show the influences of the three cities that have cast such an illuminating light on Paterson.
 
Again in the liner notes, Tesser begins with “This is a tale of three cities.” And so it is.
 
The album opens with Ray Bryant’s “Cubano Chant.” George Fludas jumps into the Cuban rhythms as the introduction and propulsion of the track.
 
Sure enough, that bass line laid down by Paterson is powerful and works well alongside Fludas. Peter Bernstein’s guitar is Blues-cool flavored Jazz and he is a smooth set-up of Fludas’ drum solo. The conclusion from the trio is gorgeous.
 
“I’ll Close My Eyes” (Billy Reid) is a classic tune that is beautifully handled by the trio. Fludas’ brushes and Bernstein’s strumming are a warm backdrop for the popping punctuation of the B3. Bernstein’s guitar solo is lyrical and charming. Paterson, however, keeps up the emotional quality of the piece.
 
Paul Simon’s “50 Ways to Leave Your Lover” is hallmarked by the Steve Gadd military cadence. Fludas completely abandons Gadd and strikes off on another pattern. It becomes an entirely different song. Yes, the B3 and guitar follows near to Simon’s vocal lines but they work it from different angles and, honestly, they create an arrangement superior to the original.
 
Arthur Hamilton’s “Cry Me a River” doesn’t venture too far afield of the original but the tempos and instrumentation make for excellent diversion. Paterson owns this one.
 
Unless you’ve been on Mars for the last fifty years (and even that is not a guarantee), you’ve heard Stevie Wonder’s “For Once in My Life.” Paterson took on this piece, using it for the title track of the album, perhaps to describe his once in a life (so far) use of the organ.
 
The melodic line certainly follows Stevie but Fludas makes it swing with Paterson and Bernstein smoothing it out. Then—oh, yeah—here comes the Gospel. Followed by a moment of samba before Bernstein’s lyrical celebration. And you have to pay attention to Fludas’ backing of that incredible Paterson performance.
 
Sonny Rollins’ “Decision” is another rhythmic exploration like “Cubano Chant” before. For all of that, the melodic lines are fine and memorable.
 
This followed by Horace Silver’s “Nutville.” This may be the rhythmic highwater mark of the whole album. Fludas’ plays like his throne is on fire and Paterson’s bass is in agreement. B3 and guitar are splendid in their melodic expression. This is the tune that sticks in your head.
 
That is, until you hear the Paterson original, “Blues for C.F.” C.F. is Chris Foreman, the organ master who, according to Paterson, showed him “what the instrument is capable of.” Smoking hot Blues, “Blues for C.F.” is a fond tribute to the talents and inspiration of the Chicago Blues giant.
 
One small touch I really admired was that the track faded out, as if to signify the ongoing inspiration from Chris Foreman.
 
It is followed by another Paterson original, Near Miss.” Fludas’ understated colors are an excellent foundation for the sweeping melodic work of Bernstein. Paterson has written a piece of harmonic beauty with rich tones and warm delivery.
 
“We’ll Be Together Again” (Fischer/Laine) is wistful with an ever-so-slight touch of melancholy. It is slow and hopeful and very emotional. The even pacing gives Paterson ample room to brightly paint a future of what may be against Bernstein’s view of what will be.
 
Frank Loesser’s “I’ve Never Been in Love Before” concludes the album cheerfully and in a lively way. It is colorful and energetic and the trio carries it off wonderfully.
 
Ben Paterson’s “For Once in My Life” is well-chosen with originals and classics that allow him to shine a bright light on his talents as a composer and arranger. In this, his debut foray into the Hammond B3, he brings the brilliant talents of Peter Bernstein and George Fludas who also take ownership of the music. Together, this trio gathers from a wide net of influences that make this something special. Dear God, let there be more from these guys.
 



 
 
 
~Travis Rogers, Jr. is The Jazz Owl
 






Purchase Ben Paterson's "For Once in My Life" at Amazon.com.

Greg Pasenko of BluJazz Productions asked me give a listen to Dale Head’s “Swing, Straight Up” and I am eternally grateful for the favor of his request. This album was incredibly fun from beginning to end.
 
Not only is Dale Head a remarkably swinging vocalist, he is a fine trumpet and flugelhorn player backed by Rory Snyder and his Night Jazz Band. The watchword is energy and Head knows how to crank it up.
 
“Over the years, I acquired some great arrangements of Jazz and Swing tunes that I love performing,” says he. Now on this, his debut album, Dale Head brings the standards from Cole Porter and Jerome Kern and more with the arrangements of Nelson Riddle and Rick Walsh and more to completely entertain and, as I said, energize.
 
Cole Porter’s “It’s All Right With Me” starts it all off. Band leader Rory Snyder contributes a cool alto sax solo and the rhythm section punches it up hotly. Dale Head’s vocals are electrifying and his scat is a great bit of fun.
 
“Love Is the Name of the Game” by Joel Evans reveals the more lyrical approach of Head plus we get the treat of Dale Head on trumpet with Brenda Thompson on baritone sax. Pianist James Wrubel deserves attention underneath it all.
 
One of Head’s smoothest renditions is Sammy Cahn’s “Teach Me Tonight” as Al Jarreau recorded it. Again, Wrubel’s piano is an exquisite partner to Head’s flugelhorn.
 
I would have considered it daft to take on Jarreau’s version of this classic but Head owns it. The vocals are fluid and so very rich.
 
Jerome Kern’s “The Way You Look Tonight” has been recorded by every vocalist on the planet, it would seem. So when I say that Dale Head gives a memorable rendition, that is saying a lot. Of course, the song itself suffers no wear despite the many versions but Head still manages to add his own character to this version. Plus, Rory Snyder’s Night Jazz Band just nails it.
 
If you enjoy James Wrubel’s piano work, “So Close to Getting Close to You” (Joel Evans, composer) hits the spot. Sandy Hughes gets a trombone solo that is worth a second (and third) listen. The youthful energy of Head’s vocals and the real pop of the band are great entertainment.
 
Then comes Rodgers and Hammerstein’s “My Favorite Things.” Good Lord, what riotous excitement! Head inserts his own list of favorite things along with the list of things that require him to conjure happy thoughts like “Standing in line at the DMV.” The tempo is double-time and staccato.
 
“Come Rain or Come Shine” (Johnny Mercer and Harold Arlen) is rendered in a languid and lyrical version that has always suited the song so well. A beautiful alto sax solo by Anthony Pickard adds a depth to the already profound piece. Fabulous horns and a great rhythm section capture the song wonderfully.
 
Having heard Head’s successful take on the Jarreau version of “Teach Me Tonight,” trepidation is replaced by anticipation in hearing Dave Brubeck’s “Blue Rondo ala Turk” with lyrics by Al Jarreau.
 
Head captures the precision of both Brubeck and Jarreau. The fun and interest of this piece—from the original—was the 9/8 time. However, instead of the expected 1-2-3, 1-2-3, 1-2-3 count, Brubeck shook it up with 1-2, 1-2, 1-2, 1-2-3 count. A breathing challenge, certainly, but Head and the band keep up the pace and the thrill.
 
“No Easy Way to Say Goodbye” by Joel Evans and J. Elle is a bit of lesser-known piece but the band and Head’s muted-trumpet solo breathe real life into the piece. The lyrics, and Head’s intonation of them, are as cool as can be.
 
Hoagy Carmichael’s “Georgia” is less lonesome in Dale Head’s delivery than in the Ray Charles version. Stephen Herrick’s tenor sax solo is sweet and straight-up. This is a great Jazz vocal piece.
 
Cole Porter’s “Night and Day,” as arranged by Nelson Riddle is coolly rendered by Head. Sandy Hughes’ trombone and Kevin Grant’s bass trombone are featured against a vocal delivery that just doesn’t get any better. The composition, the arrangement and the performance are stellar.
 
The album concludes with Dave Mertell’s “Don’t Get Me Started.” What an interesting choice to conclude a vocalist’s album with an instrumental number. With a hot band like this, however, it is not so difficult at all. One can almost imagine Dale Head in the wings, watching and listening with a big grin of appreciation and enjoyment.
 
In an era where male Jazz vocalists have apparently gone the way of the Hi-Fi, Dale Head comes along as a fresh, energetic and, most of all, fun herald of a newfound period of Jazz enjoyment. He has the personality, the talent and the skillful stagecraft to command attention. He has exactly what it takes.
 
 
 
 
~Travis Rogers, Jr. is The Jazz Owl
 
 


 
Follow more great music at: Blujazz.com

Jeff Benedict’s Big Band was put together in the best way imaginable—he chose his best and oldest friends. They come from all over and their esteem for each other cements their talent into one tight ensemble. “Holmes” is the resulting album of this collected talent and camaraderie.
 
The pieces chosen for this album move from Blues to Swing to Jazz standards and originals along the way with lots of great arrangements by Jeff Benedict himself.
 
The first track is an open invitation from conductor David Caffey entitled “Come On In!” It is a sweet swinging tune suited especially for the big band. The three-note hook starts early and returns early and often. Benedict himself has a fine solo on the alto sax and Charlie Richard is featured on the baritone sax. The concluding portion of the track offers good work to drummer Paul Romaine.
 
Paul McKee’s “Bitter Jug” is based on Fats Waller’s “Jitterbug Waltz.” Matt Harris has an excellent turn on the piano solo and works it beautifully. Composer Paul McKee steals the spotlight for a bit on trombone, as well. This revamped standard is a fun piece of rambunctiousness.
 
Jeff Benedict has a fine arrangement of Sting’s “Seven Days” for the third track. Dave Askren’s guitar solo is lyrical and is a complimentary set-up for Jeff Ellwood’s tenor sax. Truthfully, the Benedict arrangement is superior to the original. Tim Emmons creates a smooth but strident bass beneath Matt Harris’ piano.
 
“Holmes” is a Benedict original dedicated to Jeff Benedict’s late father. It is a cool and quirky piece that, according to Benedict, describes his father. Jeff is featured on alto sax as is Charlie Richard on baritone sax, Tom Tallman on trumpet and Paul McKee on trombone.
 
If this piece is truly reflective of Mr. Benedict, Sr., I wish I had known him.
 
Another standard, “Easy Living” (Rainger and Robin) is a lovely showcase for Benedict’s alto sax and Paul McKee again on trombone. The tonality is warm and smooth. The Benedict arrangement a fine retake on the original with languid phrasing that truly describes easy living.
 
Benedict switches to soprano sax in his arrangement of Pat Metheny’s “Jaco.” The bright textures of Metheny’s original lose none of their vividness in Benedict’s treatment. Ken Foerch on tenor sax and Charlie Richard on baritone sax add a breadth to the melodic lines. The honoring of the great bassist is restated respectfully and with fondness. Benedict’s soprano sax carries the piece to conclusion lightly and affectionately.
 
Benedict and Harris light it up on Benedict’s arrangement of Joe Zawinul’s “Young and Fine.” Often in lock-step, the alto sax and piano also trade off in terms relished by Zawinul during the heady days of Weather Report. The rhythm section gets the Latin groove on the ensemble expands the theme beautifully.
 
“Caravan” is one of the hottest tunes ever. Ever! Again, Benedict arranges the Tizol/Ellington number exquisitely for his big band. Jeff Ellwood gets to take off on tenor sax and does the piece proud.
 
The rhythm section gets to shine, especially drummer Paul Romaine, in the second half of the track. This is the stuff big bands were made for.
 
Michael Brecker’s “Delta City Blues” is given its Blues dues in this Benedict arrangement, who also adds a bit of a funky waltz to keep it as fun as it should be. The call and response of Ellwood’s sax and Jacques Vayemont’s trombone is like going to church. Paul Romaine’s heavy-handed drum solo propels the ensemble to the cool conclusion.
 
“Castle Creek Shuffle” is a Benedict original and features him on alto sax along with Paul McKee on trombone and Dave Askren on guitar. This is straight up swinging ensemble at its finest.
 
It is only the second of three tracks to prominently feature Askren on guitar whose contribution is clean and direct. McKee’s trombone is smoking and Benedict shows on alto sax that he is a great performer in addition to his splendid composing and arranging.
 
“Naima” is, of course, the great John Coltrane piece from “Giant Steps.” Paul McKee arranged this gorgeously for the big band setting. The melody is unmistakable and unforgettable. It may be Coltrane’s most lyrical piece and Benedict’s Big Band does no damage to the beauty of the original. Askren’s guitar work is masterful in carrying the melodic line. This is the way to close an album—with a Coltrane classic.
 
Not only has Jeff Benedict assembled the right musicians, he has also assembled a great collection of songs, arranged superbly, to fashion an album of exciting and enjoyable artistry. “Holmes,” the song, may be a tribute to Benedict’s father but “Holmes,” the album, is a tribute to Jeff Benedict himself.
 
 
 
 
 
 
~Travis Rogers, Jr. is The Jazz Owl
 
 
 
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“BossaToo”
Kristine Mills
InkWell Publishing
 
“BossaToo” is Kristine Mills’ sixth album and, once again, she plunges deep into the trove of bossa nova’s riches. With her is Klaus Mueller on piano and keyboards, Itaiguara Brandão on guitar and bass, Portinho on drums and Rafael Barata on percussion. Brazilians all with the exception of Mueller, who lived in Brazil for a time.

With the exception of two pieces by Antonio Carlos Jobim and one by Sting/Clapton, the songs are all originals by Mills who composes on guitar but lets Brandão handle the guitar duties on the album.

“Hold Fast”—one of those originals—opens the album. From the outset, Mills’ vocals are clear and clean. There is a nice lilt to her enunciation that adds charm to the already engaging music and lyrics. Her guitar is subtle and in splendid partnership with Muller on piano. The percussion section is understated but complimentary.

“Journey Back Home” is a beautiful track. Mueller’s piano is captivating and it is small wonder that he has written orchestral arrangements for Herbie Hancock. Mueller’s light touch on this track works so very well with Brandão’s light strumming. The vocals carry the narrative beautifully and here’s the thing: Kristine Mills doesn’t sound like anyone else. She is an original and she is good.

“Breathe Your Kiss” (Mills, composer) is a cool bossa nova number. Brandão and Mueller punch up the tempo and the bass, drums and percussion nail the rhythm.  Mueller is the principal instrumentalist and he is well-suited to that role. There are great vocals on this track and they only get better on “It’s Over.”

“It’s Over” features Portinho’s fantastic drumming with his broken rhythms and staggered beats. Brandão’s bass should gather great attention, as well. This is a beautifully unified band.

“Meditation” is a great piece by Jobim the Master, arranged by Mills and Mueller. In the Jobim original, the lover is going away but, in Mills’ version, the lover has passed away and the bereaved lover sings this at the departed’s funeral. The mood is drastically, tragically altered and the results are touchingly harrowing.

“Silhouette” is a lush and lovely work. The vocal delivery is right on and the instrumentation is delightful.

“Last First Glance” follows that with a dance-like quality. The melody and the changes are beautiful with Brandão’s excellent
bit of solo. I admit, this track captured me.

“It’s Probably Me” is a song by Sting and Eric Clapton. Fortunately, Mills’ version is done as a baião and that makes all the difference. The baião is native to Northeastern Brazil and while samba and bossa nova are the crown jewels of Brazilian music, the influence of the baião went as far south as Rio de Janeiro and São Paulo and hugely popularized by Luiz Gonzaga.

The piano gets the sweet spot in the arrangement and Mills’ altered cadence in the vocals renders a far superior version of the song. But then, I’m hooked on Brazilian rhythms.

“Inutil Paisagem” is another Jobim beauty. Brandão’s exquisite guitar work is featured alongside Mills’ vocals. Of course, can anyone ever go astray with Jobim? Certainly Kristine Mills knows how to follow Jobim to the Promised Land. The moving melody and the sad lyrics are perfectly adapted by Mills in both of Jobim’s pieces.

“Not Waiting for Maybe” is another Mills original. Her breathless vocals are paired well with Klaus Mueller on the piano. Mills has a way of stretching the vocal line then letting it snap to cool effect. She is always in complete control.

“Burden of Choice” is actually a revisiting of the same song from her third album, “Bossanovafied.” The tight rhythms are terrific and the keyboards enrich the sweet vocals. The album closes with the pop and swing of the great bossa nova sound.

Kristine Mills’ “BossaToo” is a marvel. Joined by class artists, she is able to explore the beautiful depths and the wondrous heights of bossa nova and she does it with the subtle twist of a phrase or bend of a note.
 




~Travis Rogers, Jr. is The Jazz Owl
 
 
Visit Kristine Mills’ website at: http://www.kristinemillsmusic.com/
“Like” her on Facebook at: https://www.facebook.com/KristineMillsMusic
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"BossToo" can be purchased on iTunes and on Amazon.

“Invisible Man”
Frank Kohl Quartet
Pony Boy Records (PB5017-2)
 
“Invisible Man” is Frank Kohl’s third album as a leader. More of a gigging guitarist, Kohl is practically a fixture in two Jazz cities—New York and Seattle. His three albums are spaced widely apart in 1982, 2008 and 2015 with performing filling the intervening years.

Kohn graduated from Berklee College of Music in 1976 with honors. While there, he had been influenced by teachers John Scofield, Pat Metheny and Gary Burton. Their influence shines through in Kohl’s dedication to excellence.

Both on “Invisible Man” and on 2008’s “Coast to Coast,” Kohl is accompanied by his brother, Tom Kohl. With Steve LaSpina on bass and Jon Doty on drums, this quartet swings and succeeds on a track list of Frank Kohl originals and three classic covers.

The album begins with the title track, “Invisible Man.” It begins with a cool stroll and the beautiful missing of Greg Williamson and mastering by Ross Nyberg present a sharp and crisp recording of this fine Kohl original.

Tom’s piano is razor sharp and sets off well over against Frank’s guitar licks. LaSpina’s bass and Doty’s drums are exactly what the piece requires, leaving no doubt that what follows is worthy of anticipation.

“In Your Arms” is a classy Jazz nocturne. The waltzing rhythm section and cozy piano are warm and lush. The melody is memorable and the chord changes are subtle and emotional. This song is a grabber.

It is followed by “Born Again.” This is more of a joyful reverie than a plodding theological line. The thoughtful piano lead is certainly invigorating—LaSpina’s bass solo is absolutely soulful, followed by Doty’s oft-interrupted drum solo which is snappy and fun.

Through it all, however, Frank’s guitar work is melodic and exciting. The piece is written extraordinarily well. “Falling Sky” is a sweet taste of samba with wonderful rhythms by LaSpina and Doty, a great pairing.

The opening locked-lines of Frank and Tom are cool and then split apart as they switch leads. It is one hot composition that wrangles fun tempos and changes. The track ends as it began, with the unified lines of the brothers atop those great rhythms.

The Rodgers and Hart standard, “My Funny Valentine,” is arranged beautifully. It is an up-tempo recreation and a polar opposite to, say, Chet Baker’s version. The emphasis is more on “funny” than “valentine.” I like it. But that gorgeous melody—no matter what the tempo or key—is unmistakable and oh-so-enthralling. In the conclusion, the guitar tempo’s bottom falls out as the band keeps swinging.

“Round About” is another Frank Kohl original. LaSpina has an early bass solo that plays well. Frank’s guitar is encased in splendid accompaniment by the other artists.

One becomes as impressed with Frank Kohl’s composing as with his musicianship—and that is saying something.

The Wood and Mellin classic, “My One and Only Love,” is given a lovely treatment by this quartet. Frank handles the material delicatelky and lovingly.

By this point, I realized that Frank’s playing was so clean and precise that I had not once been distracted from the music by the musician. Indeed all of the artists play so appropriately and allow such room for each other that nothing has served to distract. The music continues to shine through on the merits of the music itself.

“Alone Together” (Schwartz and Dietz) closes the album. This was a well-chosen piece for the unique talents of this quartet. The leads and solos are bright and colorful. All of the stringed instruments get a spotlight and a chance to steal the show (which they take) with the odd and wonderful result that, once again, the equanimity of the band balances everything and the music itself is enhanced.The conclusion is satisfying.

“Invisible Man” renders Frank Kohl anything but invisible. In his third album over the space of 33 years, he is set to be well-recognized for his splendid composition and artistry. His talent and craftsmanship make him imminently worthy of notoriety. His focus on the music instead of the musician makes him a cherished artist.
 
 
 
~Travis Rogers, Jr. is The Jazz Owl
 

 
Visit Frank Kohl’s website at: http://frankkohl.com/
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Nancy Lane is a star as-yet-unknown. She has been waiting for her moment and her moment is now. Out of respect and love for her parents, she delayed taking the plunge into a musical career until her universe was ready. The stars have aligned.

Nancy was born into a music-loving family, to be sure. "My Dad was always playing his sax along with the recordings while I sang and danced around the living room,” she recalls. Her brother managed a record store in Montreal where the family lives and he supplied her with the recordings of the up and coming Jazz players while introducing Nancy to other genres of music.

Her parents enrolled Nancy in ballet and modern dance classes at the age of three. When she was 10 years old, her dance instructor invited the students to perform an improvisational dance to “whatever song inspired them the most.” While other students chose the Beatles or Michael Jackson, Nancy’s choice was Reflections by Stan Getz.

Getz and other sax players remain an important part of Nancy’s thinking and inspiration. At one point, she decided to stop listening to other vocalists and concentrated on listening to those instruments and musicians that the voice could reflect. To that end, Nancy listened intently on Getz, Sonny Rollins and John Coltrane. Once you know that, it is easy to hear that influence in her vocalization.

Her grandmother was an operatic stage singer. Her aunt was also a Jazz performer, especially at the family’s once-a-week dinner at her aunt’s house. After dinner, the family would gather in the parlor and “sing for their supper.” Her cousin accompanied them on piano while the women of the family performed standards and classics. This was where she received the greatest part of her musical training and learned stage-singing.

At the age of 17, she was approached by an agency for a solo contract.  While her parents encouraged her participation in music, the idea of a career in Jazz was always off the table. Music and singing could be enjoyed but only as a sideline.

At the age of 28, Nancy was asked by a sound engineering university student to record a jazz standard that he could use as a his final exam submission. What Nancy did not know was that he entered her recording in Downbeat magazine’s student competition. Months later, this young engineer told her that she had, in fact, won in the vocal control category. The award, she was later informed, would not stand since Nancy herself was not a student.

The award, however, showed clearly what any listener of Nancy’s music already knows—she is in complete vocal control.
The sad death of her mother caused Nancy to reevaluate her life and career. After years of breathing classes and listening to the greats and participating in a local Montreal band, she is ready to launch.

Nancy has pursued songwriting for several years and has written numerous pop and indie songs. She was awarded the SOCAN award for her pop hit Feel Happy which was recorded by celebrated Las Vegas performer, Veronic Dicaire.

She has recorded everything from radio jingles to software training videos and can be heard on the soundtrack of the indie film, “The Union,” which won the Best of festival audience award at the 2015 International Hoboken film festival Nancy was also chosen as the original station identification voice for Couleurs Jazz (now Planete Jazz CRXI 91.9 FM).

At last, Nancy Lane can be heard beyond the confines of Montreal’s local Jazz scene as she releases her debut album, “Let Me Love You.”

The 2015 release includes musicians both young and seasoned. Nancy’s long-time friend, Andre White—an accomplished drummer and pianist who has performed with Dizzy Gillespie, Benny Carter and is a Jazz professor at McGill University—introduced Nancy to young pianist and arranger Lara Driscoll from Chicago who happened to be studying at McGill University at the time.

“A sisterly bond developed quickly and we were very comfortable working together. She was very attentive to what I wanted asking me, ‘What do you want?’ or ‘What don’t you like?’ Lara’s main goal was to ‘Honor the singer.’”

In 2011, Driscoll was awarded the “Outstanding Soloist” award in the Union League Civic & Arts’ Graduate Jazz. She now teaches at Loyola University - Chicago and the City Colleges of Chicago.

Along with Lara Driscoll was Kenny Bibace who has been widely recorded and was featured on the 2011 Juno award-winner for Contemporary Jazz Album of the Year for Christine Jensen’s “Treelines.” Bibace teaches at McGill University.

On bass is Mike De Masi, an “active member of the Montreal music scene” and collaborator with the 1st prize for Jazz en Rafale 2012 recipient Becky Noble.  

Drummer Dave Laing is considered a “fixture in the Canadian Jazz scene.” His album credits have surpassed the 50 CD mark, having worked with many of Canada’s biggest Jazz names including Remi Bolduc, the Joe Sullivan Big Band, Ranee Lee, Oliver Jones, Jon Ballantyne, Denzal Sinclaire, Kevin Dean and more. It was Laing who told Nancy, upon entering the studio, “We’re only 20 years late.”

François D’Amours is a Yamaha artist and has been on Gino Vanelli’s world tours as a saxophone and flute performer. “Franky Love,” as his name would appear in English, is an incredibly well-respected artist and brings his formidable gifts to Nancy’s debut.

On trumpet and flugelhorn is Aron Doyle who has also performed with several of Canada's outstanding jazz artists, including Vic Vogel, Bernard Primeau, Dave Turner and the Altsys Jazz Orchestra.

Padraig Buttner-Schnirer is the Montreal-based recording engineer and music producer who was the brilliant mind behind the final product. His experience as freelance musician made him a perfect fit for Nancy’s debut album.  They recorded in Montreal’s famed Studio 451. According to Nancy, Padraig “gave and continues to give me a lot of his time and guidance.”
Nancy’s track list is very close to her heart. “I wanted to pick songs that my dad would enjoy hearing in his car,” she revealed.

To that end, there are the great standards of Cole Porter and Rodgers & Hart, along with a couple of surprises.
The album opens with a stunning rendition of “Let Me Love You” and follows with the Jimmy McHugh 1926 piece “I Can’t Believe That You’re in Love with Me.” It becomes clear that Nancy has an affinity for 1920s compositions.

One of the great surprises is her recording and interpretation of Alan Dale’s 1957 single, “We’re Together.” When she decided to use this, it took months to find the rights owner. A tribute to her determination to record this song on her album, she went to extraordinary measures to find the rights owner. The result is a marvelous Bossa Nova treatment. Fortunately, Nancy saw what the song could truly be and made that vision our reality.

She wanted to sing one of the songs in French, so Nancy chose “Tout ce que veut Lola” (Whatever Lola Wants). Avoiding the cute version of Petula Clark, Nancy realized that Lola is a seductress and decided that a rhumba or tango feel was required. “I think of the movement of dancers as I sing this—the close attachment and the intertwined moves.”

“Cry Me A River” is the oft-recorded and reinterpreted Arthur Hamilton 1955 composition. Written for Ella Fitzgerald, it was—ironically—first released by Julie London. It is one of the stand-out pieces on an album of stand-outs.

“Everything I’ve Got” is a 1942 Rodgers & Hart classic. As often as it has been covered, Nancy makes you think that this is the first time you’ve heard it the way it was meant to be sung which is the same with Cole Porter’s “All of You.”

Rodgers & Hart make another appearance on 1928’s “You Took Advantage of Me.” Covered by Ella and by Bing Crosby, Nancy makes this her own.

Cole Porter’s 1929 composition “What Is This Thing Called Love” is a very influential piece, forming the chord progressions of Coltrane’s “Fifth House” and Mingus’ “Wham Bam Thank You, Ma’am.” Nancy doesn’t venture far in her interpretation but, rather, proves the point that a standard done well is truly immortal.

Perhaps the biggest surprise, aside from “We’re Together,” is “Just Say I Love Him.” It is a Neapolitan folk song entitled “Dicitencello vuie” written by Rodolfo Falvo and was arranged for English by Jimmy Dale in 1950. Covered by Johnny Desmond and Vic Damone, it is the Nina Simone version that caught Nancy’s attention. The vocal control of Simone is perfectly rendered by Nancy. The quality that got Nancy noticed by Downbeat is the appropriate way to end her debut album.

The songs are well known and have been covered by the best. It speaks loudly and well of Nancy Lane’s decision to include them all. Fearlessly taking on Ella Fitzgerald, Sarah Vaughan and Nina Simone, Nancy shows that—even on her debut album—she can stand with the very best of the very best.

Although her debut album is still fresh, Nancy Lane is writing her own compositions for what will most assuredly follow.
Where has she been all our lives?
 
 



~Travis Rogers, Jr. is The Jazz Owl





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It has been over 30 years since the release of Randy Bernsen’s first album, “Music for People, Planets and Washing Machines,” appeared on MCA Records and gave the Jazz world a prophetic vision of what would follow over the next four decades. All the best players were on that album: Jaco Pastorius, Peter Erskine, Bob James, Herbie Hancock and more.

Being a South Floridian means that I got many occasions to see him and hear him and the thrill is no different now than it was in the early 80s. Some things never change.

Now Bernsen has released his twelfth album as a leader and his has all the best players on this album, as well: Julius Pastorius (Jaco’s son), Peter Erskine, Jimmy Haslip (who co-produced “Grace Notes”), Virgil Donati, Scott Kinsey, Luis Conte and more.

The album opens with the Yellowjackets’ “Black Top,” written by Jimmy Haslip and Russell Ferrante who play bass and piano, respectively, on this track. Gary Novak (drums) and Haslip propel the song from the rhythm section.

Most distinctively, Steve Tavaglione channels Miles Davis’ 1990 self with the mimicked muted-trumpet effect. This is how you kick-off an album! Not that I was going anywhere but I was anchored to my seat upon hearing this track that I have loved for decades.

A vivid, even bold, reinvention of Freddie Hubbard’s 1970 stunner “Red Clay” follows. Bernsen tears it up on this one. Peter Erskine is as riveting as he has ever been (and ever shall be) while Trey Henry handles the acoustic bass duties.

Tavaglione’s synth horns and the trumpet of Max Boiko open the piece with a repeat line that gives way to Bernsen’s brilliant guitar. Luis Conte adds the sweet percussion alongside Erskine’s imaginative drumming. Just like any Freddie Hubbard composition, this one smokes.

When Bernsen said that he “wanted to turn the knob to 11,” he wasn’t kidding. He wanted to gather the best and he got the best. He wanted to make a declarative statement and it has been made in a full-throated roar that Randy Bernsen is still around and is still a force with whom the Jazz world must reckon.

“Grace,” the third track of the album, is a Bernsen original and gets the Florida funk in high gear. You’ve got to love it. Bernsen’s cool picking is set against three keyboards from Kinsey, Colin James and Mac Chew. Good God, ya’ll.

Drummer extraordinaire Archie Pena is the whistler on the track. That’s not a euphemism—he really whistles while Virgil Donati sits the drum throne. His role as whistler comes from a five-year collaboration between Bernsen and Pena. According to Bernsen, Pena was always whistling the tunes they were going to play, especially Bernsen’s originals, giving Randy the feeling that Pena knew the music better than Randy did. So, Pena gets to perform his semi-official function as whistler on “Grace.” Fun stuff.

“Indian Rivers” is another Bernsen original work with all the usual suspects in place as Haslip and Erskine man the rhythm section. Kinsey offers a clear vision on the Fender Rhodes as Bernsen paints a colorful picture of the Indian rivers with joyous aplomb that is bright and lively.

Lennon-McCartney’s “She’s Always a Woman” follows after. Dropping the country affectation of the Beatles’ original, Bernsen and Haslip turn on a techno-bluegrass vibe and are joined by Rockin’ Jake on harmonica. A cool reincarnation.
“Blues Traveler” is another Bernsen original. Punchy rhythms and Julius Pastorius’ bit of shuffling set up the steel pan drum, creating a sub-tropical jive that has made South Florida the fun place it is.

Bernsen’s guitar and fascinating sound designs get punctuated by young Boiko’s trumpet brilliance. It is one long, cool groove.

“Freddie’s Conversion” is Bernsen’s reworking of Freddie Hubbard’s “Mr. Clean.” Gary Novak’s creole flavors work so well with Haslip to cook up something spicy. Tavaglione is on sax for the track. Kinsey on the organ and Fender Rhodes flesh out the devilish fun of the song. Together, they all make it happen like Freddie would have liked.
The album concludes with Bernsen’s “Malibu Man” and is a nod-and-a-wink to Joe Zawinful, Bernsen’s old band-leader when Randy was with the Zawinul Syndicate.

Robert Thomas, Jr., once of Weather Report, works his magic on the percussion along with Erskine on the drums turning on the fusion-funk drive that Joe Zawinul loved. Bernsen lays powerful and precise guitar on top of it all and closes the album in a way leaves you wanting more—the hallmark of great music.

“Grace Notes” is full of both Grace and notes. Any recording with this album’s line-up cannot fail, to be sure, but any album which features Randy Bernsen’s compositions, arrangements and artistry is bound for success and admiration. His musicianship is undisputed. His compositional skills are exquisite. “Grace Notes” contains the furious rhythms and hard-hitting melodies that underscore both of those points. Through four decades, Randy Bernsen is still on fire.
 




~Travis Rogers, Jr. is The Jazz Owl


Visit Randy Bernsen’s website at: http://www.randybernsen.com/
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