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CD/LP/TRACK REVIEW

Daniel Smith: Smokin' Hot Bassoon Blues

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It is rare that a jazz album comes with laugh out loud moments but bassoonist Daniel Smith's Smokin' Hot Bassoon Blues is full of them. Unfortunately these do not appear to be intentional humorous attempts merely risibly poor performances. This is a shame as Smith is both an accomplished musician and a jazz connoisseur with a commendable taste. His choice of material of classic blues compositions by such luminaries as bassist Charles Mingus and saxophonists Sonny Rollins and Joe Henderson is evidence of the latter. Alas, dissonant screeches and poor organization mar the interpretations of these gems.

CD/LP/TRACK REVIEW

Daniel Smith: Smokin' Hot Bassoon Blues

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All those who can resist reviewing--or reading a review about--a jazz / blues quartet led by a bassoonist, please raise your hands. No one? Very well, then, let us proceed. The bassoonist in question is Daniel Smith, and while his name may be unassuming, it would be good to report that there is nothing ordinary about Smith's prowess on his chosen instrument. Alas . . . Perhaps the choice of music is partly to blame, but whatever the reason, Smokin' Hot Bassoon Blues never really takes off, nor does Smith's unwieldy bassoon generate much heat. In fact, ...

TAKE FIVE WITH...

Take Five With Daniel Ian Smith

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Meet Daniel Ian Smith: Daniel Ian Smith is a saxophonist/flutist and an Associate Professor at the esteemed Berklee College of Music in Boston, MA, where he has taught for the past fifteen years. Daniel has had the privilege to perform in Japan, England, Germany, Italy, Mexico, Canada, and throughout the United States in major jazz festivals and venues including: Carnegie Hall, Newport Jazz Festival, The Pit Inn, Schlot, Ottawa International, JAZZUV in Mexico, Visiones, and many others.

Leader of the New World Jazz Composers Octet, the Big and Phat Jazz Orchestra, Daniel Ian Smith and a Collective Directive, artistic director ...

CD/LP/TRACK REVIEW

Daniel Ian Smith / Yuki Arimasa: Dialogues

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These fastidious dialogues between saxophonist Daniel Ian Smith and pianist Yuki Arimasa are seldom less than engaging, sometimes even seductive — but like Pavlov’s dogs, every time Arimasa made an entrance I listened for the sound of bass and drums. It never came. Hidebound traditionalist that I am, I missed it. Others may not. To them I would commend what is there: perceptive interplay between two musicians of commendable skills that earns one’s consideration and swings as often as it can under the circumstances. As if to test the waters, Smith/Arimasa open with two standards, “Beautiful Love” and “Alone Together,” ...



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