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ARTICLE: ALBUM REVIEW

Matt Jorgensen +451: The Road Begins Here

Read "The Road Begins Here" reviewed by Ben Ohmart

Beautiful cd. 7 tracks and 54 minutes of smooth jazz, from adapted classics to noteworthy originals.Matt Jorgensen, Rob Davis, Phil Sparks, Marc Seales: these are the champions of a combo so tight, you'd swear you hear more in these instrumental songs than just these few people. The swinging nightlife sound of 'Afterglow,' busy with ...

ARTICLE: ALBUM REVIEW

Franklin, Clover, Seales: Three Worlds

Read "Three Worlds" reviewed by Ben Ohmart

A trio grows in Elkhart, Indiana, home of the new jazz label, Beezwax. A strong trio, with a softer, subtler approach to contemporary, smooth jazz. The best actors know where to place pauses in their speeches. So too do the best jazz combos. Every second of Franklin/Clover/Seales' Three Worlds is like a whispered conversation of music, ...

ARTICLE: ALBUM REVIEW

Mark Soskin: 17

Read "17" reviewed by Ben Ohmart

Mark Soskin and his merry band of players are not seeking a new way in to the jazz scene, but they know which door works, and they pass through like the best glass cleaner. Each of the 8 tracks are long enough to get into and steaming with what I call bunny go. You never know ...

ARTICLE: ALBUM REVIEW

Eddie Severn: Moments in Time

Read "Moments in Time" reviewed by Ben Ohmart

‘The music on this cd represents a mixture of standards and original material with a diverse cross section of style and instrumentation.’ But Eddie caters for the most part to a smoother blend of jazz without a Latin-style race in the bunch. Easy going. Paced, sensitive. 8 minutes of ‘The Lost World’ is as tropical as ...

ARTICLE: ALBUM REVIEW

Ivan Kapec Trio: Lancun

Read "Lancun" reviewed by Ben Ohmart

From the label Dancing Bear in Croatia comes Ivan Kapec Trio’s Lancun, proving at least one thing. Music IS universal. When the instruments are the same – guitar, bass, drums – it doesn’t matter where the meter’s from. ‘No Matter’ proves it. Ivan’s lead guitar ambles on like a disinterested party jamming with a few professionals ...

ARTICLE: ALBUM REVIEW

Chris Gestrin Quartet: Times That Do Not Belong To Us

Read "Times That Do Not Belong To Us" reviewed by Ben Ohmart

Chris Gestrin - piano and synth, Bill Vint - saxophones, Joel Fountain - drums and beat, Danny Parker - half the bass, Marc Rogers - the other half. Those are the players. Now meet the smooth, frozen delight music, punctuated softly by Gestrin's refined keyboard skill. Sticking to piano mostly (rather than an obvious synthesizer), he ...

ARTICLE: ALBUM REVIEW

Carlos Barretto Trio: Silencios

Read "Silencios" reviewed by Ben Ohmart

European jazz hits its mark with the likes of Carlos Barretto (double bass), Mario Delgado (electric guitar) and Jose Salgueiro (percussion), a trio more honored in the headphones than in the speakers. A quiet group primarily (what would you really expect when the main man is on bass?), this trio is concerned with sonic soundscapes of ...

ARTICLE: ALBUM REVIEW

Chris Tarry Group: Sevyn

Read "Sevyn" reviewed by Ben Ohmart

Chris Tarry's group isn't the first amalgamation of intimacy to prove itself highly intelligent to the cerebral heart, but it does lay down clearer rules than some. One soft step through the 'Kata' cut, heavy on so much high-hat spray (you'd swear you're in the middle of a snow cone maker), and the wonderland that is ...

ARTICLE: ALBUM REVIEW

Kenny Drew Jr. Trio: Remembrance

Read "Remembrance" reviewed by Ben Ohmart

Let’s amble back to the simple but productive days of piano jazz before every niche of playing style created a new genre, before the words genius and nuance were overused to the point of covetousness. To hear Kenny at the head of tracks like ‘Song for Manfredo’ by Lili Fest renews my roving eye back to ...

ARTICLE: ALBUM REVIEW

Greg Hopkins: Okavongo

Read "Okavongo" reviewed by Ben Ohmart

Put together from twosessions in January 1997 and January 1998 at Berklee Studios in Boston, Greg Hopkins' more than 16 piece machinery elicits a big band movement with less swing and more contemporary jazz. The 7 minute 'Infant Eyes' is a perfect example of using a lot of people in a smooth jazz setting, occasionally rising ...


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