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Markus Reuter Oculus - Nothing is Sacred

11/22/2020

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Markus Reuter is one of the most extraordinary musicians and composers of this or any other century. In the wake of so many brilliant and innovative releases, Reuter presents his first Oculus project, featuring equally remarkable musicians who fit like a fist in glove in their presentation of Nothing is Sacred.

Joining Reuter are the great David Cross, the fantastic Asaf Sirkis on drums, and Fabio Trentini on the fretless bass. Sitting in with them is another remarkable guitarist, Mark Wingfield and soundscape keyboardist Robert Rich.

Markus says, “This is insane music. I used a compositional system that basically disallowed the musicians to play intuitively. They had to follow rules which served to create really strange melodies and harmonies.” Markus went on to say that he wanted to create “something as fundamentally radical as Miles Davis’ Bitches Brew.” He has achieved exactly that with the album recorded live in the studio at the 4th Annual MoonJune gathering at La Casa Murada in Catalunya, Spain.  

This is the stuff of legend.

The album is comprised of five extended pieces (none less than 10 minutes), all written by Markus and performed exquisitely by his band of remarkables.

The album opens with the title track, Nothing is Sacred. With so many King Crimson alumnae in the group, comparisons are inevitable but Markus is not following Fripp’s well-trodden path. Still, it is safe to say that if you love King Crimson, Nothing is Sacred is going to own you.

This and the entire album requires multiple hearings in order to truly hear what each artist contributes. David Cross—one of my favorite musicians of all time—makes exemplary contributions on the violin. Trentini’s bass work is unmistakable and extraordinary. And Sirkis is Sirkis—unbelievable.

The Occult has those haunting and distinguished textures from Robert Rich and the whole track is full of unique and treasured hues and shades that stay with you. Then comes the guitar assault from Markus and Wingfield.  These guys were going to leave it all on the field, as they say. The energy, the precision, the rhythms were everything we could expect or hope from Markus and the line-up.

Bubble Bubble Bubble Bath was a step back from the frenetic and into the imaginative ambience of sustained tones and extended passages. The constraint of tightly constructed compositional forms did not inhibit Oculus from contributing their own inimitable approaches to the music. Each personality can be heard in each instrument.

Solve Et Coagula is an ancient Alchemy maxim meaning “dissolve and coagulate.” It means that things have to be broken down before they can be built up, the process of turning darkness into light. That is exactly what you hear in this song. The song beautifully extends into the light. An Alchemical tone poem.

Bubble Bubble Bubble Song concludes the album. Each artist is spot on moves from tonal and ambient to energetic and concise. Cross paints an aurora borealis across the scape and Markus punctuates the narrative brilliantly.
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Markus Reuter Oculus’s Nothing is Sacred is everything we have come to expect, respect, and admire from Markus Reuter. No idea is left unexplored, no question unanswered, in this brilliant album of shadow and light.
 
 
                                   ~Travis Rogers, Jr. is The Jazz Owl


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Alex Wintz Trio goes Live to Tape

11/22/2020

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Alex Wintz decided to go old school with his trio and record his latest album Live to Tape on analog equipment in a successful attempt to recapture the warmth of the Blue Note era recordings. It was the perfect set-up for the guitar trio format, made more perfect with the artistry of bassist Dave Baron and drummer Jimmy Macbride, his longstanding comrades in arms.

While the recording equipment may be vintage, the music is fresh and contemporary. Having appeared on over 30 albums as a sideman, Live to Tape is Alex’s second album as a leader and his first for Nick Finzer’s Outside In Music label.

Four of the seven tracks are written by Alex himself and the three covers are tightly arranged for the trio. The cover of Herbie Hancock’s Textures is lyrical and perfectly transcribed for guitar. The funky-swing is spot on and Baron and Macbride deliver beautifully. Annie Clark’s What Me Worry is a soulful instrumental that allows the guitar to sing as plaintively as the original vocal version. Michael Leonard and Herbert Martin’s I’m All Smiles is from the 1965 musical The Yearling. Alex’s warm guitar is splendidly captured with the bass and drums. Good stuff all around.

You going to love Alex’s original compositions. He starts with Idris, a sweet and quirky head-bobber that is captivating from the opening bars. On a Summer Day allows for a very melodic drum introduction to set up the cool guitar and bass passages. It is a contemporary take on some of the old Jazz guitar masters and it is so fine.

Ely, MN is set in the Minnesota city on Shagawa Lake and nicely captures the feel of the place with its Jazz clubs and affection for Jazz. It is one of the most demanding tracks on the album and Alex, Dave, and Jimmy are in top form for those precise runs, with Jimmy getting a memorable drum solo.

The last of the originals is Cadeques with its leisurely, even reflective, pace and tones. You have to love the brushes and bass contribution to the effect of the piece. Cool chords changes and bent notes create quite the atmosphere in the song.
All of Live to Tape is summed up with the word warmth, from the recording equipment to the compositions and arrangements to the performances. The sound of one-take live-to-tape recording is exquisitely rendered by three artists who know each other so well and fit together so very well.
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Live to Tape is both a harkening back and a heralding forth to what great guitar trio Jazz brings.
 
 
~Travis Rogers, Jr. is The Jazz Owl


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The Kaleidoscope Quintet's Dancing On The Edge

11/14/2020

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On a mid-November night in 2013, five great Jazz artists gathered at the Deer Head Inn in the Poconos of Pennsylvania to record an amazing live album. Those five artists were The Kaleidoscope Quintet and they featured Joe Lovano on tenor sax and flute, Dave Liebman on tenor and soprano saxes and wooden flute, Tony Marino on bass and Michael Stephans on drums, featuring Judi Silvano on vocals.

Five songs from that extraordinary set have been selected to represent that evening on the present album. The occasion for the concert was the publication of Michael Stephans’ book Experiencing Jazz: A Listener's Companion. Dave Liebman and Joe Lovano were contributors to the volume, with Liebmann even contributing the preface, and the two horn players joined with Stephans and Marino and Silvano in celebration of the book's release.

The album opens with Joe Lovano’s Topsy Turvy, a frenetic duet between Lovano and Liebman that is augmented with Judi Silvano’s vocals that becomes almost another horn. Sometimes you have to listen for a few notes to know it is her and not one of the saxes. Marino and Stephans nail down the rhythm section and we are off to the races. The 10+-minute romp is fun and furious. From the start, pay attention to Stephans’ drumming.

Dave Liebman’s Day and Night is a fine showcase for the twin sax giants trading off. Seriously, watching the two of them onstage must have been like watching Thor and Zeus hurling lightning bolts. Again, Milano and Stephans provide solid backing to the horns.

Lovano’s Blackwell’s Message follows that with 18+ minutes of brlliant trades, leads, and vocalizations. Starting with the flutes, the giants move to saxes with Silvano matching them step-for-step. Improvisation at it most fascinating. Listen to everybody on this.

Isham Jones and Marty Symes’ 1936 standard There Is No Greater Love gets a lively and energetic treatment as opposed the slow swing of the original. The tenors are in full force and Stephans is monstrous.

Liebman’s Get Me Back to the Apple concludes the album with constant trades from the tenor saxes and swinging rhythms from Marino and Stephans. The years-long collaboration of Lovano and Liebman is obvious and rewarding.

In a time when we have been denied live music, it is wonderful to hear the creativity, grace, and power of improvisational masters. Dancing On The Edge is a treasure chest of live Jazz, right when we need to hear it most.

                ~Travis Rogers, Jr. is The Jazz Owl

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Sarah Elizabeth Charles and Jarrett Cherner's Tone

11/14/2020

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Sarah Elizabeth Charles and Jarrett Cherner are remarkable composers and artists individually. On their first release as a duo, Tone, the two of them have brought their considerable talents together to co-write the album’s eight songs.

It took them four years to do all the writing but they completed the recording process during quarantine in their home. The results are amazing. Sarah Elizabeth first came to my attention as part of the groundbreaking group Ajoyo and Jarrett as part of the tight band Sketches.
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Sarah Elizabeth can capture the rage and anguish as well as any vocalist I have ever heard but that is set aside for a more harmonious and agapeic sensibility on Tone. Jarrett is especially creative and, may I say, deserving of sharing the name with another Jarrett of piano fame.

To experience the two of them together it is truly a moment not to be missed. And it is only the two of them, Sarah Elizabeth on vocals and Jarrett on piano, throughout the entirety of the album. And they are all you need. The album is as warm as their home must be.

The album opens with Conscious Mind. The beautiful piano lyricism of Jarrett creates the perfect and picturesque background for Sarah Elizabeth’s multi-layered vocal tracks. The closing refrain of “Love the world…Love the world…” sets the mood for the remainder of the album.

Hanging On To Time begins with an intoning piano introduction. Adapted from Robert Frost’s poem Nothing Gold Can Stay, Sarah Elizabeth’s beautiful delivery washes over you and the hopeful lyrics and emotive chord changes cause a pause for reflection on the state of the world amidst Trumpism and pandemia. But through it all, “We must welcome change…Embrace what comes our way.” Gorgeous.

Shine On is a bit more strident (in a good way) in both with Jarrett’s opening single-note march and Sarah Elizabeth’s anthemic delivery. Then comes the almost-Latin piano passage as Sarah Elizabeth layers the vocals. The lyrics of self-esteem and self-discovery are powerful and welcome.

Speak opens with contemplative simplicity before developing into something of Jazz sonata from Jarrett. The inimitable Jesse Fischer adds to the soundscape here as Sarah Elizabeth layers on the exquisite vocalizations, chanting simply, “speak…speak…” I’m not sure I have ever heard anything more beautiful in my entire life. I admit that I am an emotional man and this song brought me to tears.

Wild One is a ballad of self-expression and finding a home within a loving relationship. “Wait, don’t go ahead of me. This is our time to exist… I want to disappear into your arms…”  Just listen to the warmth of the vocals and the piano in harmonious love.

Stardust is not your mama’s Hoagy Carmichael version. The nocturnal imagery of Jarrett’s piano and the wistful, wanting vocals from Sarah Elizabeth’s are intoxicating. And Gloria is nothing like the songs of the same name by Them (Van Morrison) or Laura Branigan. This is art. Again, the layers of vocals over the simple, lovely piano passages is more like the section of the Mass. Transcendent and emotional, this song is church on its best days.

The album concludes with Out Loud. “She did not know she was able to pray…He did not know that he’d have to prove...” The song revolves around the right and power to decide. “It’s not about a win or lose, only what path we choose to choose.” The piano is stunning and the vocals are mesmerizing. This was a song and an album that I did not want to ever end.
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Tone is the inevitable evolution of the talents, skills, and hearts of Sarah Elizabeth Charles and Jarrett Cherner. Like lipids, proteins, and nucleic acids combing to make life, these two amazing artists have created something unique that the world has awaited since the beginning. It’s that good.

                      ~Travis Rogers, Jr. is The Jazz Owl

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Max Haymer's Whirlwind: Live at Sam First

11/13/2020

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Finally! It is been 12 years since Max Haymer’s release of Pickpocket Witness. But, then again, he has been busy. He has been touring as a longstanding member of Arturo Sandoval's band as well as leading his own trio. His new album whirlwind: live at Sam first is worth the wait.

For one thing, it is so nice to hear a live recording, recorded months before anybody had even heard the word COVID-19. The sound and feel of the audience and their appreciation is palpable. It makes you long to sit in a club again and hear great music.

And that's what this album is, great music.

With Max Haymer on piano is David Robaire on bass and Dan Schnelle on drums. The trio is well-suited to play together as Robaire and Schnelle adeptly match Haymer’s robust style.

Six of the nine tracks are Haymer originals. He proves that, not only does he have the performance chops, he is a brilliant composer.

The album opens with Cole Porter’s So in Love. The trio wastes no time is setting high expectations for all that is to follow. Robaire and Schnell maintain the lively pace when Haymer tears open the Latin Jazz section. The spirit of Sandoval was clearly in the room. I was hooked from the start.

Whirlwind, the title track and a Haymer original, is a Jazz waltz. It’s not the fast and furious piece that the title implies. It is a lovely piece whose triplet meter reminded Haymer of a “whimsical tornado.”

Proof of Evil, is a dually-inspired piece from Herbie Hancock’s Actual Proof and Wayne Shorter’s Speak No Evil. You just have to love this one. The trio is just so tight and so precise. Brilliant.

Speak Low is the Kurt Weill/Ogden Nash tune from the 1943 musical One Touch of Venus. Haymer’s version is an excellent tribute to Weill’s original and interprets well the Nash lyrics Speak Low/When You Speak Love. It is the slowest tempo on the whole album. But with that is the controlled energy that is so well released throughout the rest of the album. Beautifully done.
Another Haymer original, Gold Plated Dime, has the whimsy and energy to pull off this piece about a huckster. The humor and deception are all too evident. The trade between force and delicacy is outstanding. So much fun.

Welcoming, another Haymer composition, was inspired by the birth of his first daughter. Almost a lullaby, it becomes a tone poem of early-early-morning feedings and the “dreamy feeling of love” he felt. This is one of those songs that you hope will never end.

Killing Time is the introduction to Passed Time. Haymer recalls the long stays in hotel rooms, when touring with Sandoval, in places with nothing to do. Beginning with an extended, leisurely musing, the song picks up with what must be the thought of getting out of there.

The album ends with the other Cole Porter tune, Love for Sale. Now this is how you end a live set. They leave it all on the stage. The Art Tatum virtuosity of Haymer with the precision of Robaire and Schnelle (sit tight for his solo) make for a fun and high octane conclusion to a splendid album.
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Whirlwind: Live at Sam First is just what the doctor ordered in our time of seclusion and quarantine. To hear an appreciative crowd and an exemplary trio playing hot compositions makes Max Haymer more than a placebo. It’s the real stuff.

                ~Travis Rogers, Jr. is The Jazz Owl

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Jeff Ellwood's The Sounds Around the House

11/13/2020

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Tenor saxophonist Jeff Ellwood his joined forces with several great jazz musicians from Southern California to release his debut CD as a leader, The Sounds Around the House. Ellwood is known for his improvisational skills and his daring and intriguing approach to the tenor saxophone. He has appeared on many CDs but finally he has taken the leadership and the results are extraordinary.

With Ellwood is piano great Alan Pasqua, the man Elwood credits for introducing him to the Southern California Jazz community. Pasqua calls Ellwood, “one of my favorite tenor saxophonists on the planet.” Also joining Ellwood and Pasqua are innovative bass player Darek Oles and renowned drummer in Bill Evans’ last band, Joe LaBarbera, as well as multi-reeds maestro Bob Sheppard. This is a stellar line-up.

Five of the nine tracks on the album are composed by the artists in this lineup with Pasqua contributing three of the tracks.

The album opens with Ellwood’s original, U-R, which is his variation on a theme from Jerome Kern’s All the Things You Are. Immediately, the tenor sax directions catch the attention and the band contributes their mighty talents to pull off a great contrafact of the Kern piece. Pasqua’s piano work takes its own interesting directions. Oles and LaBarbera (with a nod and a wink to the Ventures)
 each get their own solos to send us headlong into the remainder of the album.

The first of Pasqua’s originals follows with Agrodolche, first played by Ellwood when he was part of Pasqua’s own band. A great vehicle for Ellwood’s tenor sax, the piece moves beautifully with fine interplay between Ellwood and Pasqua’s trade of the lead.

Pasqua also contributed Old School Blues with its back-and-forth major and minor Blues. Ellwood just nails it. Good solos all around. Barcelona was Pasqua’s final original on the album, another piece well-loved by Ellwood when he played in Pasqua’s band. It is warm and inviting, like Barcelona itself. Pasqua’s piano is nothing short of gorgeous.

Darek Oles’ The Honeymoon was heard by Ellwood when Oles and Pasqua were part of the Peter Erskine Trio. This one swings. Ellwood takes a road less traveled in his improvisations and it pays off splendidly.

Bob Sheppard joins Ellwood for King Henry by Dick Oatts. Oatts was a big influence on Ellwood and this is Ellwood’s tribute to the great saxman. It opens with a cool bass intro from Oles before going into the sax duet from Ellwood and Sheppard. The play between these two is so fine. Listen out for LaBarbera’s solo.

Ellwood also pays tribute to another saxman, Rick Margitza, on Provence. It is haunting and emotional and so well done. An extraordinary display of understatement, even delicacy.

The title track, The Sounds Around the House, is by the great team of Alec Wilder and Johnny Mercer. I have always loved this song, first recorded by Dick Haymes, and Ellwood has done it great justice. Haymes’ 1978 release was vocal and piano only. Bobo Stenson’s 1983 version was solo piano. The quartet version by Ellwood is worth the long wait for it to be done so very well.

The album closes with For Roger, a tribute to Ellwood’s friend Roger Shew, written by Joe Bagg. The song is performed by only Ellwood’s tenor and Oles’ bass. Roger Shew died from a rare form of cancer in 2014. Roger was a Jazz band instructor in Laguna Beach, whose former student Caden Robinson remarked on Roger’s passing, “He treated everyone in jazz band with a level of respect unknown to students in middle school and high school. I consider him more than a teacher, but a professor and friend.” A man who deserves to be remembered. Ellwood and Oles do just that.
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What a band and what an album! These guys belong together. Jeff Ellwood has picked the right artists to play the right songs and the results are so fine. If this is Ellwood’s debut album, Good God, don’t let it be the last.
 

                              ~Travis Rogers, Jr. is The Jazz Owl

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Peter Leitch's New Life

11/12/2020

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In 2012, Peter Leitch was diagnosed with stage four lung cancer. He was told that he could either undergo potentially career ending treatments or face a possibility of dying within short months. It is eight years later and Peter Leitch is still alive. He can no longer play the guitar but he still creates music. He continues to compose, arrange, and direct is new life orchestra.

During his recovery, he took two years to compose, arrange, and/or orchestrate the 17 tracks on this project. The 2-CD album is called, appropriately, New Life. According to Peter, the two CD's represent two sets of music like in a club or concert. All but three of the songs are composed by Peter.

The new life orchestra is comprised of 15 members including Duane Eubanks on trumpet, Bill Mobley on trumpet and flugelhorn, Tim Harrison on flute, Jed Levy on tenor sax, flute, and alto flute, Steve Wilson on alto and soprano sax, Dave Pietro on alto and soprano sax, Carl Maraghi on baritone sax and bass clarinet, Matt Haviland on trombone, Max Siegel on bass trombone, Phil Robson on electric guitar, Chad Coe on acoustic guitar, Peter Zak on piano, Dennis James on arco bass, Yoshi Waki on bass, and Joe Strasser on drums.   

The first disc opens with Mood for Max and is dedicated to Dr. Maxim Kreditor, the oncologist who undoubtedly saved Peter's life. It is bouncy, lively number with hot horns and a remarkable rhythm section.

The second is Portrait of Sylvia, a tribute to his wife Sylvia Levine. After only the first two tracks, it becomes clear that Peter is a guy who has embraced life and love in one big bear hug. And he’s not letting go.

The rest of the set on Disc 1 includes a brilliant cover of Thelonious Monk’s ‘Round Midnight. A landmark original from Monk, Peter arranged the piece beautifully for guitar and orchestra. The flutes carry off a beautifully wistful interpretation.

That was preceded by Monk’s Circle, a Peter original, which commemorates the renaming of the cul-de-sac where Monk once lived in LA. In 1983, it was rechristened Thelonious Sphere Monk Circle. The Monk feel is unmistakable, lush and lovely.

Penumbra is a great sax piece with a fine example of the flexibility of the rhythm section. The same can be said for Brilliant Blue, Twilight Blue. Disc 1 closes with Fulton Street Suite. Following the precept that each disc represents a set in a live setting, this is the way to close out a set, full of romp and riot.

 Disc 2 kicks it off with Exhilaration. It is a remembrance of Peter’s arrival in New York City in 1982. It is energetic and smoking hot.

The rest of the disc is like a brief lesson in the History of Jazz with pieces calling to mind Gil Evans and Walker Evans in Elevanses, sax great Clifford Jordan, Ballad for Charles Davis, piano great John Hicks is remembered on Minister’s Son, and Back Story is a walk through the history of Black Americans’ contribution to the world of Jazz.

Spring is Here is a reinvention of the gorgeous Rodgers & Hart song of the same name. The Long Walk Home is a splendid 12-bar blues. There is no weak track on the album and it makes for a wonderful 2+ hours of listening. Well, 4+ because I immediately replayed the whole album. Yeah, it’s that good.

Peter Leitch has taken the hurts and disappointments of a catastrophic illness and transformed it all into something marvelous. The musicians carry forward his vision with aplomb and we are richer for it.

Welcome to your New Life, dear Peter.


           ~Travis Rogers, Jr. is The Jazz Owl


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He & Me - Ada Bird Wolfe and Jamieson Trotter

11/12/2020

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He & Me is the latest recording by Jazz vocalist and lyricist Ada Bird Wolfe, this time in a duet format with the splendid pianist and musical director Jamieson Trotter. Ada’s 2018 album Birdie was critically acclaimed and Jamieson’s influences make him adept at every genre he touches. It has gained him first-call status among vocalists.

The two of them began writing together and some of those originals appear on He & Me. The two of them also worked together on nine hits and standards from the Jazz and Pop worlds. Ada’s warm alto and Jamieson’s skillful piano combine to make the covers truly their own.

The originals include Sweet Nardis, Too Much Stuff, and Done with That. Too Much Stuff is a sometimes whimsical, now reflective bit of humor that is well worth the listen. Sweet Nardis is a beautifully written piece and the play between Ada and Jamieson is excellent.

Done with That is a resolution to wipe one’s hands clean of the noise and disjointedness of the world. Mostly, it is a determined to be done with the well-meaning advice of friends. It reminds us of the words of Vikram Seth, “God save us from people who mean well.”

Chick Corea’s You’re Everything does not let up on Chick’s lively, brilliant piano runs and Ada delivers wonderfully on the Neville Porter lyrics. Then she turns on the Blues with Bessie Smith’s Any Woman’s Blues, written by Lovie Austin in 1923. Jamieson’s cool piano is a treat. Chico Buarque’s 1967 composition Logo Eu is sung in the original Portuguese and she nails it. Jamieson delivers the piano lines (originally for guitar) to perfection.

Paul McCartney’s Blackbird is quite the surprise with Jamieson delivering the bird calls on the piano instead of the squeaky guitar strings. The tempo is cut in half and the melancholy missing from the original is well-done here. Blackbird was McCartney’s salute to the Black Civil Rights movement in America and while the Beatles’ version never quite posited the sadness of the struggle, Ada and Jamieson do so admirably.

Jimmy Van Heusen’s But Beautiful is a straight-ahead rendition of the lovely standard. Both Ada and Jamieson do sweet justice to the song. The semi-suite arrangement of Miles Davis’ All Blues and the Davis/Bill Evans Blue in Green (lyrics by Cassandra Wilson) is fantastic. The same can be said of the Thelonious Monk tune, Straight, No Chaser, offered as Get It Straight with Sally Swisher’s lyrics. All three tunes are so well done and do great honor to the originals.

The track that got me the most was the second track, Dizzy Gillespie’s A Night in Tunisia with lyrics with John Paparelli. Again, the tempo is slowed and the nocturnal piano of Jamieson lays an incredible foundation for that amazing voice of Ada’s. This was the one track that kept bringing me back.

There is nothing quite like two brilliant artists finding that they fit like hand-in-glove. Ada Bird Wolfe and Jamieson Trotter are just such artists. With these songs, covers and originals, they take possession of the music and the hearer. He & Me is one of the finest duets one could ever hope to hear. The writing, the arranging, and the performance artistry are exquisite.

                                 ~Travis Rogers, Jr. is The Jazz Owl


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