Jacob Varmus’ 2015 release “Aegean” is a commissioned piece for Jazz septet. Apostolos Georgopoulus is the patron and Jazz fan for the funding of the album. And we feared the Renaissance was over…

The septet is a superb lineup of hired guns who are a great ensemble for the compositions. Varmus leads on trumpet and cornet, Hashem Assadullahi is on alto and soprano sax, the brilliant Pete McCann plays guitar, Leonard Thompson and Broc Hempel split duties on piano and keyboards while Sam Trapchak (bass) and Christian Coleman (drums) anchor the rhythm section.

Varmus’ compositions are distinct and varied, showing great expression of character and technique, energy and emotion.

The album opens with “Elma” and the first notes you hear from Pete McCann’s guitar, the Trapchak’s bass. Thompson adds his delicate piano touch before Varmus joins with his fine trumpet.

It is lyrical and soulful. Coleman’s drum work is rich and tonal, contributing his own melodic sense to the piece. Assadullahi’s alto sax adds a lush backdrop. Trapchak’s bass solo is gorgeous and McCann blends in for his own solo in transition from the bass solo. Seamless.

I strapped in for the ride I knew that “Aegean” was bound to be.

“Areti” starts out with charming piano from Thompson until the rhythm section joins in with wonderfully quirky rhythms. McCann adds a fun—even wicked—guitar show over the riotous rhythm section.

Varmus’ trumpet does nothing to constrain the uproar but, instead, joins the brash bad boys. For all of the fun and humor, this is a masterfully crafted composition. It makes you fondly recall Frank Zappa, who wrote such fun music that was so brilliantly and exactingly constructed.

Assadullahi’s alto sax runs the piece to conclusion. Yeah, this was quite a ride.

“Phineas” opens with Thompson’s electric keyboard with the horns coming aboard in a gentle and evocative duo. This is reminiscent of some of Freddie Hubbard’s gentler moments.

Hashem Assadullahi gets his first big spotlight on this track and he proves why he is on the recording. You have to admire and love his off-playing. Sam Trapchak solos meaningfully before Pete McCann turns on an understatedly electrifying guitar solo and then plays over against the horns in an exquisite example of over-crowding in a hot Jazz counterpoint kind of way.

“Lily” is sweet and romantic. It is energetic and lovely. Sax and trumpet speak in dialogue of her while the electric keyboard contributes its own ode. The bass and drums stroll and step delightfully and McCann rhapsodizes in agreement. Varmus saves the last word for himself.

“Nidal” bounces in with the horns in corps progression and the rhythm section is tight lock-step. Varmus’ trumpet lead drives ahead as bass and drums propel from behind. This could be the tightest number on the album. Piano, bass and drums simply thunder on this track. I admit that Coleman stole my attention.

“Zeina” gives all the artists a spotlight. Varmus, Assadullahi, McCann and Thompson are in together and the melodic expression is lovely Jazz. Trapchak and Coleman put forth stellar rhythmic backing. Varmus and Assadullahi are in great partnership as McCann works in and out of the piece.

“Lyra” is a live piece. It swings beautifully. Light-hearted and energetic, Broc Hempel turns in hot piano work. Pete McCann is his usual cool self and the horns punctuate the melody with staccato punches.

“Apostolos & Stelios” continues live with the same line-up. Varmus has a more pronounced lead role and continues to show why he got the commission for both his writing and his performance. Assadullahi gets an absolutely sublime sax solo. It definitely bears repeated listening.

McCann and the rhythm gang slide into a great bit before Varmus returns to the lead. Trapchak and Coleman are just on fire together. There are a dozen great elements to this track. You just need to hear it.

“Selena” opens with the cool sounds of the muted trumpet and the swing of the bass and drums. McCann accompanies finely before the piano takes over briefly. Hempel is back on piano and adds his own unique flavor as he leads then backs up Varmus. McCann contributes the ever-so-sweet tones to make this track a big score.

“Elma” (from track 1) is reprised live for the next track. MCCann again opens the piece with cool harmonics and delicate touch. Varmus doubles with McCann and the live version (almost two minutes longer than the studio version) is every bit as wonderful as the piece has proven to be. The live atmospherics truly do contribute to the great feel of the overall piece. This track gets me.

Conversely, “Lyra” goes into the studio to conclude the album. The speed and deliberateness is so tight. Same with “Elma,” both are given studio and live incarnations. So nice, you need ‘em twice.

Jacob Varmus’ “Aegean” is as warm and lively as the sea it is named for. Like laying on one of its namesake’s beaches, the experience of this album gives a feeling of the rejuvenating air and water that makes one sigh in comfort and in the joy of life.

The compositions on Aegean are first-rate and the musicianship is second-to-none. It is an album that has landed solidly on my shelf of favorite CDs—to be accessed very frequently.

Thank you, Apostolos Georgopoulos, wherever you are.
 

You’ve got to love a Jazz band who calls themselves “Cowboys and Frenchmen.” Talk about polar opposites. But this is 21st century Jazz, where boundaries and genres are blurred…or just ignored.

“Rodeo” does just that by incorporating Pop, R &B and Folk to enhance the Jazz. And if John Coltrane could cover “My Favorite Things” from The Sound of Music, then Cowboys and Frenchmen can do “Man of Constant Sorrows” from O Brother, Where Art Thou?

The album opens with “Jazz Styles.” The gongs, cymbals and bamboo flutes herald the coming of something cool. Matt Honor’s drums kick in in earnest with Ethan O’Reilly’s bass. Chris Ziemba adds the staccato piano. Ethan Helm (alto sax, flute and clarinet) and Owen Broder (alto sax, clarinet and bass clarinet) jump aboard and we got the makin’s.

The piece is composed by Ethan Helm and it is a brilliant nod and a wink to the New York Jazz scene. What is clear from the very beginning is that each musician deserves rapt attention. These guys burn it down.

Owen Broder wrote “King Barry.” The piano arpeggios with the andante bass paint a pastoral scene that serves as a gorgeous backdrop to Broder’s alto sax solos.

The chord changes are magnificent. A thing of rare beauty. The composition is imaginative, emotional and flawlessly executed.

“A Bridge Inside My Mind” is from the pen of Ethan Helm. The free-styling introduction from all five artists weaves in and out through the piano solos as the bass and drums develop a solid undercurrent. The track closes with the return of the free-style.

“Because” (Lennon-McCartney) is the meditative bit of melancholy that we have loved forever. The arrangement is not far from the original but the intonation of the horns and the shuffle of the drums do change the feel but without diminishing the beauty of the song. Of course, like all who listened to Abbey Road hundreds of times, I expected “You Never Give Me Your Money” to follow next.

What does follow is Owen Broder’s arrangement of the “old timey” folk song, “Man of Constant Sorrows.” Ziemba’s piano works off of the main theme in great improvisation. Ethan O’Reilly and Matt Honor create a traveling sense that is spot on.
The main theme is revisited and reworked into a fine piece of straight-up Jazz. The arrangement won Broder the 2015 Downbeat Student Award for “Best Master’s Arrangement.”

“Brode’s Abode” (by Owen Broder) opens with the duo of Broder and Helm on the horns. The others soon join in and the cool Jazz takes off.

O’Reilly and Honor with Ziemba contribute stellar rhythms and drive as the horns play for cover. When Ziemba solos, he makes splendid use of the space.

The writing of “Brode’s Abode” is worthy of admiration. A cool groove, nice changes and sweet melody throughout.

“More” by Ethan Helm follows with its tightness and precision. A surprising roar from the artists bring a smile with a monster rhythm section that buries you. The frontal assault of Helm and Broder is furious. The final minute of the song is something not soon forgotten.

“Bells of Mindfulness” (Owen Broder) is drawn from the practice of Buddhism. All of the artists contribute brilliantly. The song’s (and album’s) conclusion is meditative, leaving us to ponder the wonder of what we have just heard.

This is my kind of album. It is innovative as well as inspiring. Eclectic and emotional. The artistry of the quintet is exemplary. For Cowboys and Frenchmen, it is their debut album. For us, it is the start of something wonderful.
 

Herb Silverstein, MD, is a well-known ear surgeon and the founder and president of two institutes. In the early 1980s, he was introduced to the music of Chick Corea and it awoke something inside of him which has grown deeper with each passing year.

He quickly began learning piano after his Chick-epiphany and his keen analytical thinking allowed him to grasp the intricacies of Jazz chord changes. By 1985 he had begun composing his own music.

His 2015 release, “Younger Next Year,” is a splendid example of Silverstein’s writing skills and he has brought together some of Florida’s hottest Jazz players to give full-throated expression to his composing.

The album is autobiographical for Silverstein with each tune marking some person, place or event in his life’s journey.

The album kicks off with “Roaring Fork.” Jeff Rupert’s sax work introduces the lightly swinging melody. Larue Nickelson’s delicate but deliberate guitar assumes the lead with rich effect. The trade-off between them is fluid and sweet. A cool groove.

“Our Little Secret” follows with a smooth bossa nova feel. Rupert again carries the melody of this Jazz nocturne in the beginning. Silverstein takes his first lead here and shows that his Jazz talents do not reside solely in his pen. Michael Ross turns in warm bass lines in this beauty.

“Doc Five More” is a cool 5/4 number that recalls Dave Brubeck. Rupert and Nickelson play off each other so very well and then give space for Silverstein’s piano.

Bill Evans Trio alumni Marty Morell is masterful on the drums as one would expect. He is creative and dynamic, understated and always captivating.

“Love in My Heart” begins beautifully with piano, bass and drums. The piece is inspired by Bill Evans “Why Did I Choose You.” Rupert’s breathy sax is lovely and emotional. Nickelson’s guitar is cool in both lead and in rhythm. Silverstein’s piano is rich and colorful.

“Helix 49r” is a great blues tune. Rupert and Silverstein work it well and Michael Ross’ bass is as cool as you could ask for. Morell’s interrupted drum solo is paced and spaced perfectly.

“Waltz for Mike” is a gorgeous piece with one of the most memorable melodies on an album full of memorable melodies. If you needed one example of Silverstein’s brilliant writing. “Waltz for Mike” would be it.

“Feelings” was another Bill Evans-inspired piece. And why not? It doesn’t get much better than Bill Evans. Rupert carries the melody as Silverstein and Nickelson chord along.

It is a great showpiece for Rupert who makes fine work of the quick runs and soaring tones. The whole band is wonderfully well-suited for all of these compositions.

“Younger Next Year”—then title track—has lovely sax work but Silverstein’s piano lines are the real hook for the song. The sax and piano lines only slightly mirror each other but the flow is the same until the guitar cuts away at a different angle. It is lively and tight and even playful. Good stuff.

“You Can’t Be Real” is a sweetly quirky tune. More incredulity than melancholy, this piece is very catchy.

“Friends” return to the bossa nova type of warmth and emotion. The conversation of sax, guitar and piano is like pals conversing around a fire pit, increasingly affected by their drinks. Melodic lines start to slur and repeat like oft-told stories repeated among life-long chums until evening fades.

“Magic Sam” is a fast-talking albeit smooth operator. A trio piece, Silverstein, Ross and Morell are in the pocket and loving every minute of it. You can’t help but dig the melody.

“You made Me Cry” is about one of Dr. Silverstein’s fellows who claimed that Silverstein had made her cry. There are moments that are strident, some melancholy, some tender.

“Million Dollar Dog” is a nice swing step. The rhythm section lights it up as Ross hands in a fun, playful solo. A great romp, “Million Dollar Dog” is a fine way to close the album. All the musicians get to solo on the way out.

“Younger Next Year” is a meaningful look at Herb Silverstein’s own life as he interprets it episodically in his compositions. He proves, over and over, the skills of writing, the talents of playing and the will for leadership.

“Younger Next Year” is intelligent music; it is precise and innovative, energetic and oh-so-cool.
 

“Back in Time” may be many people’s first exposure to George Varghese but he has already set his stamp in India where he has won seven national com petitions for “Best Lead Guitarist.” Now calling Seattle home, Varghese is guitarist and producer at Verge Studios there.

“Back in Time” is Varghese’s first US release but he recorded “Out of the Dark” in India back in 2001. Listening to “Back in Time” is the next evolutionary step in his musical career.

The album opens with “Lost in the Wind.” This, and every track on the album, was composed by Varghese. Not only a brilliant guitarist, Varghese proves himself to be a fine composer.

Much of what it heard on “Back in Time” is progressive rock in the style of Dream Theatre and others. He often sounds like Joe Satriani, Steve Lukather or Trevor Rabin.

Steve DeMar on bass and Wilfred DeMaz on drums contribute the powerful rhythm section and they prove that power right off the bat in the first track.

The title track, “Back in Time,” follows next and features Parth Chandriramani on flute. A bit of Steve Hackett peaks through on guitar here. The hard grind of the guitar is offset by the butterfly imagery of the flute. Tony Das provides rhythm guitar in support of Varghese’s lead.

“Caught in a Dream” features Larry Mitchell on guitars with Varghese. Gus Apostol’s contributions on keyboards add to the progressive effect.

With both splendid guitarists on the track, it reminds of GTR’s conjunction of Steve Howe and Steve Hackett but, this time, with a tougher edge.

“Eternity” gives the full Satriani treatment. The aggressive drive is a hallmark of Varghese’s approach. The piece is self-explanatory as to why Varghese is often called a hard rock guitarist.

“Crystal Waves” is a more lyrical piece than all the rest. With Varghese is Tony Das on guitar and Karthick Iyer on violin. It very well may be the most emotional piece on the album. The addition of Iyer’s violin is sweet, indeed.

“Skipping Stones” was the first instrumental piece written by Varghese and was written back in 1996. The sheer power is impressive.

“Back in Time” has everything a Jazz-rocker wants: speed, power and precision. Varghese has it all. His virtuosity is unquestionable and his drive for musical success is unstoppable.


~Travis Rogers, Jr. is The Jazz Owl