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Gene Ammons & Sonny Stitt: Left Bank Encores
by David A. Orthmann
The antithesis of studio-bred perfection, Left Bank Encores is another interesting artifact of Ammons and Stitt’s long-term partnership. The presence of a large, vocal crowd at the Famous Ballroom doesn’t spur the expected tenor battle; rather, something looser and less dramatic occurs. During a brisk rendition of “Just In Time,” the set’s opener, Ammons states the ...
Mulgrew Miller: The Sequel
by David A. Orthmann
Mulgrew Miller's first session under his own name in seven years is a welcome reminder of the breadth of his talent. Miller's skills as a composer, bandleader, producer, and pianist converge to make The Sequel a unique and accessible recording. Although different in mood and texture, each of his eight compositions contains a melodic core that ...
Eric Alexander: Summit Meeting
by David A. Orthmann
A direct descendent of competitive, no nonsense titans such as Sonny Stitt and George Coleman, Eric Alexander plays the horn with a decidedly assertive temperament, as if he always has something to prove. Summit Meeting, his fourth release for Milestone, is arguably the tenor saxophonist’s finest recording as a leader in a prolific, decade-long career. No ...
Bobby Watson: Live & Learn
by David A. Orthmann
Alto and soprano saxophonist Bobby Watson’s Live & Learn (Palmetto) is a well-produced recording that speaks to diverse audiences while avoiding condescension and compromise. The tracks are short (only one over seven minutes), relatively easy to digest, and the solos by Watson, pianist Orrin Evans, and guitarist Gregg Skaff do not approach marathon length. Three cuts—“We ...
Gene Ludwig: The Groove ORGANization
by David A. Orthmann
Comprised of craftsmanship and inspiration in equal measure, Hammond B-3 organist Gene Ludwig’s The Groove ORGANization (Blues Leaf) thrives within the broad, well-trod parameters of soul-jazz. Ludwig and his partners guitarist Bob DeVos and drummer Billy James pull off the admirable feat of making music that has an aura of good times, yet is substantial and ...
Steve Davis: Systems Blue
by David A. Orthmann
Indicative of formative experiences in the bands of Art Blakey and Jackie McLean, as well as his current association with the cooperative sextet One For All, Steve Davis’ Systems Blue encompasses many of the characteristics of bop and hard bop without sounding stalled in a bygone era. On his fifth date for the Criss Cross label, ...
Mark Elf: Dream Steppin'
by David A. Orthmann
On Dream Steppin’, Mark Elf’s eighth release for his Jen Bay label, the first thing you notice is the guitarist’s distinctive sound. The tone is full, rounded, and each note rings hard and true. While encompassing the somewhat polite quality of traditional jazz guitar, his sound nonetheless looms large, almost getting in your face without veering ...
David Hazeltine: The Classic Trio Meets Eric Alexander
by David A. Orthmann
One of the pleasures of keeping up with the ever-growing number of recordings featuring David Hazeltine is savoring his connection to a select circle of peers. The pianist thrives in the company of strong, assertive individuals who stretch the bebop-rooted, straight-ahead tradition without breaking the mold. Three of Hazeltine's most important alliances are with drummer Louis ...
Tony Vacca: Three Point Landing
by David A. Orthmann
A welcome change from the all-too-familiar musical extremes of pop-influenced sonic assaults and empty virtuosity, saxophonist/flutist Tony Vacca’sThree Point Landingis one of those rare recordings that is both accessible and invigorating. The band plays as if they’re in front of a knowing, responsive audience, instead of the impersonal confines of a recording studio. Making no claim ...
One For All: Live at Smoke, Volume 1
by David A. Orthmann
As anyone who frequents jazz clubs will attest, there are nights that live on in memory for years after the last note fades. Aside from basic details easily recalled (personnel, tunes, arrangements, etc.), what really matters is the way the music made us feel. On these rare occasions, the sounds were so potent that, for a ...
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