Music has a long history of cultural cross-pollination, where artists draw inspiration from various traditions leading to the evolution of rich and diverse musical genres. Conrad Herwig's current offering is just such a recording. The Latin Side of McCoy Tyner is the latest installment in a critically-acclaimed series that started in 1996 with The Latin Side of John Coltrane. It's the work of a musically gifted, bilingual artist, a master trombonist who grew up admiring jazz's greatest practitioners but, at the same time, cutting his Latin Jazz teeth with legends such as Mario Bauza, Tito Puente, Paquito D'Rivera and others. On the gig here with Herwig, giving the recording and, by extension, the entire "Latin Side of..." project his personal seal of approval, is the great pianist and composer, Eddie Palmieri. Palmieri is surrounded by some of the most respected names in Jazz / Latin Jazz, including Craig Handy, Bill O'Connell, Alex Norris, Robby Ameen and others, all playing imaginative and challenging arrangements by O'Connell and their fearless leader. Here, Conrad Herwig goes directly to the very core of Tyner's compositions and imbues them with the vibrant essence of Afro-Cuban and Afro-Caribbean traditions.
The art form commonly referred to as Latin Jazz is a musical expression of the heart and soul of New York, an exciting reflection of the rhythms and spirit of the city's merging of Latino and African-American cultures. The music of Bill O'Connell is a product of that environment. Since the 1970's, when he first joined Mongo Santamaria's band, O'Connell has continually proven himself not only as a highly skilled pianist, but as an outstanding composer-arranger as well. The Afro Caribbean Ensemble, ACE for short, makes their recording debut on this album and the star-studded roster perform O'Connell's tricky arrangements with virtuoso aplomb. O'Connell says, "I've been planning on this recording for the better part of the past decade." His dedication is evident in every bar.
Detroit-born jazz drummer Louis Hayes arrived in New York when he was 19 to join the Horace Silver ensemble, making his recording debut with the pianist on Six Pieces of Silver, the following year. Over the next 60 years Hayes amassed a staggeringly great body of work, playing and recording with Cannonball Adderley, Oscar Peterson, John Coltrane, Dexter Gordon, Grant Green, Kenny Burrell, Cedar Walton, Sonny Rollins, Woody Shaw and many more of the giants of modern music. Continuing this legacy of excellence with his new Savant recording, Hayes pays tribute to some of his jazz colleagues past and present with a set-list featuring works by Freddie Hubbard, Bobby Hutcherson, Joe Farrell, vibraphonist Steve Nelson and bassist Dezron Douglas along with one of his own original compositions. With David Hazeltine at the piano rounding out the all-star rhythm section and the acclaimed saxophonist Abraham Burton leading the charge out in front, the band alternately caress and careen through their material with tasteful arrangements and memorable solos. Also on hand is the multi-instrumentalist and composer Camille Thurman displaying her vocal prowess on two tracks.
This reissue of Jim Snidero's Strings on Savant Records marks 20 years since the album was to be recorded in New York on 9/11/01, the day of the terrifying attacks on the World Trade Center. Recorded a few months later and released on Milestone, the session ultimately resulted in "a stone masterpiece" (Philadelphia Weekly), "breathtaking achievement" (East Bay Times), 4 stars (Downbeat). Out of print for nearly a decade, Strings has been beautifully remastered and now includes enhanced bass arco parts, adding richness and depth to an all-star string section. Released to wide acclaim, Strings captures some of Snidero's finest writing and playing - not a standards date with a hired gun arranger, but rather a deep dive by Snidero himself into the art of strings arranging, with predominantly his music as the vehicle. In the process, Snidero not only broadened his skill set, but the expressive capacity of his art. Snidero's vibrant compositions, including the three-movement Hudson River homage "River Suite", are brought to life by pianist Renee Rosnes, bassist Paul Gill, drummer Billy Drummond and a supremely qualified cast of string players including Mark Feldman, Laura Seaton, Joyce Hamman, Tomas Ulrich, Mary Wooten, Ralph Farris, Kenji Bunch and others.
Detroit-born jazz drummer Louis Hayes arrived in New York when he was 19 to join the Horace Silver ensemble, making his recording debut with the pianist on Six Pieces of Silver, the following year. Over the next 60 years Hayes amassed a staggeringly great body of work, playing and recording with Cannonball Adderley, Oscar Peterson, John Coltrane, Dexter Gordon, Grant Green, Kenny Burrell, Cedar Walton, Sonny Rollins, Woody Shaw and many more of the giants of modern music. Continuing this legacy of excellence with his new Savant recording, Hayes pays tribute to some of his jazz colleagues past and present with a set-list featuring works by Freddie Hubbard, Bobby Hutcherson, Joe Farrell, vibraphonist Steve Nelson and bassist Dezron Douglas along with one of his own original compositions. With David Hazeltine at the piano rounding out the all-star rhythm section and the acclaimed saxophonist Abraham Burton leading the charge out in front, the band alternately caress and careen through their material with tasteful arrangements and memorable solos. Also on hand is the multi-instrumentalist and composer Camille Thurman displaying her vocal prowess on two tracks.
This reissue of Jim Snidero's Strings on Savant Records marks 20 years since the album was to be recorded in New York on 9/11/01, the day of the terrifying attacks on the World Trade Center. Recorded a few months later and released on Milestone, the session ultimately resulted in "a stone masterpiece" (Philadelphia Weekly), "breathtaking achievement" (East Bay Times), 4 stars (Downbeat). Out of print for nearly a decade, Strings has been beautifully remastered and now includes enhanced bass arco parts, adding richness and depth to an all-star string section. Released to wide acclaim, Strings captures some of Snidero's finest writing and playing - not a standards date with a hired gun arranger, but rather a deep dive by Snidero himself into the art of strings arranging, with predominantly his music as the vehicle. In the process, Snidero not only broadened his skill set, but the expressive capacity of his art. Snidero's vibrant compositions, including the three-movement Hudson River homage "River Suite", are brought to life by pianist Renee Rosnes, bassist Paul Gill, drummer Billy Drummond and a supremely qualified cast of string players including Mark Feldman, Laura Seaton, Joyce Hamman, Tomas Ulrich, Mary Wooten, Ralph Farris, Kenji Bunch and others.
NEA Jazz Master Louis Hayes certainly personifies the term "living history." Born in Detroit, Hayes packed up his drum set and caught a train east, arriving in New York City in 1956 to join the Horace Silver Quintet. In 1959 he joined the Cannonball Adderley band, finding himself, in his early 20s, at the nerve center of the jazz world. He would visit John Coltrane in his apartment and was to make several justly famous recordings with him. Over the next 60 years Hayes amassed an impressive body of work, playing and recording with Oscar Peterson, Dexter Gordon, Grant Green, Kenny Burrell, Cedar Walton, Sonny Rollins, Woody Shaw and countless others.
His latest recording on Savant, Artform Revisited, may fondly recall some of Hayes' old friends, but it also stands on the summit of today's post-bop sessions. Surrounded by his recording band of choice, Hayes' vibrant and colorful drumming supports a carefully chosen set list. Two new compositions by Hayes are featured along with some Charlie Parker tunes, the John Lewis version of "Milestones" and the beautiful but seldom-heard Bobby Troup ballad, "You're Looking at Me." Through it all, Hayes proves himself to not just a great drummer, but also a gifted and charismatic leader, inspiring his players to give their best and delivering performances born of his vast experience and exhibiting the mutual respect of all those concerned.
To mark the 40th anniversary of his debut recording as a bandleader in 1984, alto saxophonist Jim Snidero set out to create something special with his 28th album-and his second trio project to date with jazz masters Peter Washington on bass and Joe Farnsworth on drums. Fresh off the success of For All We Know (Savant), particularly the standout track "Parkers Mood", Snidero felt the time was right to pay tribute to Charlie Parker, an artist he regards as "the king of the hill." Ranked among the top five alto saxophonists in Down Beat's 2024 Critics Poll, Snidero is more than qualified to honor one of the bebop pioneers.
With his first vinyl release in over 30 years, Jim Snidero has selected his favorite cuts from two critically acclaimed sax trio recordings, "For All We Know" and "Bird Feathers," with jazz greats Peter Washington on bass and Joe Farnsworth on drums. The result is a deeply satisfying set that demonstrates why Snidero placed in the top five of the alto saxophone category in the 2024 DownBeat Magazine International Critics Poll. Equally divided between a homage to the great Charlie Parker and three beautifully interpreted standards, this swinging trio projects a warm maturity that is further accentuated by the analog 180-gram vinyl format.
Charlie Parker's music has been recorded, studied, debated, and canonized for more than seventy years. Which is precisely why paying tribute to Bird still takes a lot of nerve. There is no safe middle ground. You either bring something new to the conversation, or you risk being drowned out by history. On Another Kind of Bird, Richard Baratta does not tiptoe around this dilemma. Joined by arranger and pianist Bill O'Connell, Baratta revisits Parker's music with a clear sense of purpose and a refusal to play it safe, delivering bold reimaginings propelled by a powerhouse ensemble. Baratta anchors the session with his working band, then raises the stakes. On select tracks, saxophonists Eric Alexander, Abraham Burton, and Craig Handy join regular altoist Vincent Herring to form a dynamic horn section that adds muscle and urgency to the music. Parker emerges here not as relic, but as catalyst: energized, expanded, and unmistakably alive.
Baltimorean pianist LAFAYETTE HARRIS JR. Is known for an energetic sense of rhythmic vitality, a tasty, full bodied musical approach to the keyboard, and a sensibility drenched in the blues. A staple at the Lenox Lounge in Harlem for a number of years as well as a member of various aggregations led by Max Roach, Harris' new recording reflects this experience as well as a myriad of influences, from boogie-woogie legend Sammy Price to Kenny Barron and Barry Harris, all of whom encouraged Lafayette as an up-and-coming player. Bassist Peter Washington brings a forceful sense of rhythm and lyrically rounded solos to the date, and drummer Lewis Nash keeps the rhythms swinging strongly and as steady as a Swiss watch. A thoughtful setlist and sterling sound from the Van Gelder Studio makes this a self-recommending album.
As far as drummer Brandon Sanders is concerned, everyone should have a grandmother who runs a jazz club. It was at the Casablanca, his grandmother's nightspot in Kansas City, that he was first exposed to the music of such greats as Jimmy Smith, Grant Green, and Lou Donaldson. Sanders may be long removed from those formative days, but on this CD, his sophomore recording for Savant, he pays homage to the influence and memory of his grandmother, Ernestine Parker, in the the album's first track, "Miss Ernestine." With his understated, whispery light touch on the drums, Sanders breathes fresh life into favorites, such as Parker's "Moose the Mooche" and Monk's "Four in One." The group shifts into pop mode on the Michael Jackson hit "Human Nature," which features guest vocalist Christie Dashiell, who also delivers a sensuous version of Ellington's "Prelude to a Kiss." Featuring vibraphonist Warren Wolf, pianist Keith Brown, bassist David Wong and saxophonist Chris Lewis, "The Tables Will Turn" marks another important chapter in Brandon Sander's career.
The Dark, the Light, the Grey and the Colorful / JD Allen
SAVANT
CD
$16.63Oct 04, 2024
Though the term "visionary" is rather overused, it certainly applies to tenor saxophonist and composer JD Allen. A musical sponge of sorts, Allen is a remarkable amalgam of a wide variety of musical styles and influences, blurring the boundaries of contemporary jazz by creating a dynamic fusion of tradition and modernity. There is a decidedly "third stream" quality to Allen's compositions, combining as they do advanced classical compositional techniques, the incorporation of electronic sounds and the distillation of historic jazz genres such as call and response, field hollers and, of course, the blues. This type of music relies on the total dedication of all the performers and Allen's latest recording features three of his regular colleagues, the acoustic and electric basses of Gregg August and Ian Kenselaar and the remarkably expressive drummer, Nic Cacioppo. These men have worked with Allen on his previous Savant recordings, perhaps most notably on the unofficial trilogy of "Americana," "Americana Vol. 2" and "Barracoon," and can be considered kindred spirits with their leader. Together, they delve into themes of culture and history, offering moving narratives through their sophisticated approach and profound improvisational skills.
With his alto sound soaring over a sax trio format on For All We Know, Jim Snidero demonstrates why he is a critical link in the alto saxophone lineage. Snidero pares down the soundscape to it's essence, utilizing a selection of standards to illuminate a rare combination of virtuosity, musicality and depth along with jazz masters Peter Washington-bass and Joe Fransworth-drums. With a tone quality that's second to none-Stereophile cited his sound as "one of the richest and purest on the planet"-Jim Snidero has showcased an enviable resonance in myriad contexts over the better part of the past four decades and 25 previous releases. Now, placing himself in the most exposed setting he's ever inhabited, Snidero reaches the apex on the alto saxophone.
Boston doesn't get enough credit as a jazz town. From the days of the Storyville club and Cambridge-based Transition label to the star factory that is Berklee College of Music, the city stands tall against more celebrated places like Chicago and Detroit. One big part of that high level of creative output is Jerry Bergonzi who, for this date, leads his most Bostonian band in recent memory, reuniting with trumpeter pal Phil Grenadier and drummer Luther Gray. Bassist Harvie S came up from New York for the gig and it was he who suggested guitarist Sheryl Bailey for the album. She completes the Boston connection with her position as the Assistant Chair of Berklee's legendary Guitar Department. "To work with Jerry and study and perform his music is the definition of a dream come true," says Bailey who has played with artists ranging from Ken Peplowski to Shingo Okudaira. Here, Bergonzi has convened a fine band for a compelling album, another feather in Boston's tricorn hat.
When it comes to musical material, a nexus between quality and reception is never a sure thing. Some choice compositions and performances receive their flowers while others slide into relative obscurity. Off the Charts takes an inspired set list of lesser-known works by the likes of Wayne Shorter, Bobby Hutcherson, Charles Lloyd, Chick Corea and others and brings them back into their well-deserved spotlight. Delving into the past calls for a cast attuned to the present, and Richard Baratta has assembled an incredible lineup. Pianist David Kikoski comes with his own brand of kinetic energy, bassist John Patitucci serves as the backbone of the band, tenor saxophonist Jerry Bergonzi brings his signature sound to the fore, and percussionist Paul Rossman proves to be a vibrant colorist and rhythmic collaborator. Together, with Baratta spurring them on, this crew brings out the best in this superb selection of inspired music.
Time was when the use of any electronically-generated effects in an artist's work, would immediately brand you as a member of the avant-garde. Eventually, however, jazz embraced the modernism of electronics as people like Rashaan Roland Kirk, John Zorn and classical composers like Edgard Varese took electronics down a less self-destructive and more communicative road. On THIS, tenor saxophonist and composer JD Allen explores the possibilities of electronics+jazz with a set of new compositions for himself, drummer Gwilym Jones and electronics effects wizard Alex Bonney. These works exhibit an astonishingly wide spectrum where you may find modal, blues-infused melodies juxtaposed against startling and provocative electronic effects. There can be a slim line in jazz between being a traditionalist troglodyte and being a radical visionary. On his latest recording, JD Allen has demonstrated that there is a musically satisfying and emotionally fulfilling middle ground.
Montauk-the easternmost point of Long Island-has enjoyed a reputation as an idyllic land of the lotus and poppy but now is fully woven in to the Hamptons summer scene. The charms and views associated with that coastal existence served as a backdrop for the creation of this recording. Notable for a number of reasons-as the first live band date in a lengthy discography, and a first on-record meeting with drumming icon Billy Hart-this O'Connell session stands out. Recorded live at the Hamptons Jazz Fest, with an outfit of top-flight artists including saxophonist Craig Handy and bassist Santi Debriano, the performance was further heightened by the appearance of ebullient trumpeter Randy Brecker and the enthusiasm of attentive and engaged listeners. "Playing live brings out different things in each musician," observes O'Connell. "So I was very happy to do this and I think it was a great night with everybody on their A-game."
FAR FAR AWAY is a sonic powerhouse, leveraging every aspect of this magnificent, all-star quintet. Kurt Rosenwinkel's searing, innovative playing is on full display, Jim Snidero demonstrates a broadsword of a sound, and the rhythm section of Orrin Evans, Peter Washington and Joe Farnsworth groove and interact at the highest levels of artistry. Building on the 5-star success (Down beat Magazine) of LIVE AT THE DEER HEAD INN, which included Evans, Washington and Farnsworth, Snidero adds fuel to the fire with the addition of Rosenwinkel's highly influential guitar style. The result is an inspired performance bursting at the seams with musicality and drive. Jim Snidero's six originals create the perfect mix of current trends and tradition. Swing, Latin, and Euro grooves are all represented, yet the album is surprisingly cohesive, flowing from one tune to the next. The classics "It Might as Well be Spring" and McCoy Tyner's deeply relevant "Search for Peace" round out this amazing release.
Louis Hayes' music is full of life and humanity. It is sometimes refreshingly simple and sometimes intricately complex, sometimes light, sometimes dark, but it is always interesting and consistently engaging. Through it all, Louis Hayes has always remained indefatigably optimistic and his latest Savant release is all those things. Throughout the album Hayes, a 2023 NEA Jazz Master, coaxes concise, well-conceived tracks from his players where everybody swings with loads of feeling, and no self-indulgence. From the first note to the last, Hayes creates performances that take veteran jazz listeners into deep jazz waters while at the same time allowing recent converts to safely wade into the invigorating flow of ideas.
