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Alex Sipiagin: Steppin' Zone/Hindsight
by C. Andrew Hovan
Russian native Alex Sipiagin comes to American jazz via many sources and inspirations. While he cites Wayne Shorter’s Native Dancer as one of his favorite albums, the breath of his influences includes Russian folk music, European classical forms and the whole scope of jazz in its many forms. A valuable sideman and member of the Mingus ...
Trio Mundo: Carnaval
by C. Andrew Hovan
As far back as the ‘40s and ‘50s, musicians such as Machito and Dizzy Gillespie were developing a fusion of Latin and jazz sensibilities that seemed perfectly natural and ever since the two genres have been perfectly happy bedfellows. But it really all comes down to the rhythmic momentum of the percussion, which mixes so seductively ...
Michael Melito Quartet: 'Bout Time!
by C. Andrew Hovan
With advanced technology to the point that just about anyone can put together and sell their own CD (with little regard as to whether or not the music is worthy of dissemination or not, mind you), so much of the self-produced jazz which reaches this reviewer's doorstep is half-baked and not worth much more than a ...
Carla Thomas: Gee Whiz
by C. Andrew Hovan
While the current teen set may be too busy choosing their next American Idol live on television or too young to care that every generation has its own iconic favorites, those with a few more years under their belts will likely remember a 16-year-old Lesley Gore singing “I’ll Cry If I Want To” to scores of ...
Stanley Turrentine: The Blue Note Stanley Turrentine Quintet/Sextet Studio Sessions
by C. Andrew Hovan
With Mosaic Records expanding its horizons over the past few years, fans of many different styles have had the opportunity to expand their collections and recent Mosaic honorees have included Mildred Bailey, Eddie Condon, Bobby Hackett, Chico Hamilton, and Anita O’Day. But to those long time followers, it continues to be the hard bop verities of ...
Gene Ammons: A Stranger In Town
by C. Andrew Hovan
More so than other independent jazz labels such as Blue Note and Riverside, the powers to be at Prestige seemed to take great liberties in producing albums that would often contain cuts from multiple sessions, a discographical nightmare at its most basic. But even more troubling, this often made for a lack of coherence that could ...
Willis Jackson: Nuther'n Like Thuther'n
by C. Andrew Hovan
Right out of the gate, tenor man Willis Jackson signals that “Pool Shark” is going to be about the kind of hip boss shoutin’ (to borrow a Jackson album title) that was part and parcel of the Chitlin’ Circuit back in the days. With a Charleston beat that sets up a static background, Jackson tells his ...
Wild Bill Moore: Bottom Groove
by C. Andrew Hovan
In all honesty, the tile track of this disc, “Heavy Soul,” really says it all. Tenor saxophonist Wild Bill Moore lives up to his name with some rowdy slap tonguing and a clarion call that is not unlike that of another neglected tenor man of the ‘60s, Blue Note’s own Fred Jackson. His high note squawks ...
Sal Nistico: Heavyweights
by C. Andrew Hovan
It’s been over a decade now since the death of saxophonist and composer Sal Nistico and as of yet no substantive rediscovery of his talent has yet to take place. However, that might change now with the reissue of his first two recordings as a leader. Nistico’s maiden voyage was the 1961 Jazzland set Heavyweights, which ...
Rusty Bryant: For The Good Times
by C. Andrew Hovan
While never quite able to break through to the average jazz consumer in the way that peers such as Willis Jackson, Eddie “Lockjaw” Davis, and Houston Person had during the ‘60s and ‘70s, Columbus native Rusty Bryant was still definitely one of the “Boss Tenors” and he left behind a small but rewarding catalog of recordings ...
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