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Doug Munro: Big Boss Bossa Nova 2.0
by Ken Dryden
Doug Munro's sixth CD for Chase Music Group is a return to a traditional bossa nova trio, dropping the keyboards or sax utilized on most of his earlier projects. He is joined by bassist Michael Goetz, with Jason Devlin and Jason Anderson sharing the drum chair, all who primarily play supporting roles. The ...
Tuba Jazz: Jim Shearer and Jim Self
by C. Michael Bailey
The tuba in jazz is like the appendix. It is an evolutionary artifact that once played an integral role in the operation of the jazz orchestra but has largely fallen into disuse in favor of other instruments. Sure, it has surfaced at one time or another since the New Orleans days. Claude Thornhill employed one in ...
Piers Lawrence Quartet: Stolen Moments
by Michael P. Gladstone
For his introductory album, guitarist Piers Lawrence has chosen material from some jazz standards, originals and one tune from the Great American Songbook. His use of a piano/bass/drum accompaniment provides a relaxed and amiable session. Born in New York City, Lawrence was raised in San Francisco, studying in Geneva, Switzerland before returning to New ...
Alma Micic: The Hours
by Michael P. Gladstone
There are no doubts about it. Alma Micic (Mee-cheech) is a first rate jazz singer. On her debut album, Introducing Alma (CTA, 2004), she opened some doors with her seductive style working the Great American Songbook. Giving no hint of what was to follow, the release of The Hours raises the bar, leaving no hesitation about ...
Diane Hoffman: My Little French Dancer
by Jim Santella
Honoring a departed friend through her latest album, singer Diane Hoffman tells stories that provide a clear glimpse of the heartache and depression that follow such a loss. Her “Farewell, Noelle" provides the facts while her interpretation of “When Did You Leave Heaven" provides the feeling. Tenor saxophonist Jerry Weldon, guitarist John Hart ...
Piers Lawrence Quartet: Stolen Moments
by C. Michael Bailey
William “Count" Basie was a master of economy in his piano playing. Never flashy or overtly technical, Basie had a knack for being able to play the least number of notes while still maintaining the necessary momentum to swing. Miles Davis was another such master, where the music was more about style than technique. Guitarist Piers ...
Sylvia Bennett: Songs From the Heart
by Michael P. Gladstone
The best comment that one could make regarding Sylvia Bennett's Songs From The Heart is that the singer's presentation of a dozen pretty well-worn tunes from The Great American Songbook is pretty good. Her bright and well-enunciated versions of such time-respected fare as Rodgers and Hart's “My Funny Valentine," Gershwin's “Someone to Watch Over Me" and ...
Piers Lawrence Quartet: Stolen Moments
by Elliott Simon
It's the overall creamy texture of the sound and the effortless vibe created by guitarist Piers Lawrence that makes Stolen Moments such an enjoyable listen. This is one together quartet whose mastery of group dynamics captures your attention right away with a short but effervescent rendering of Sonny Rollins' “Pent-Up House." Lawrence, who is a fluid ...
Joe Henderson: Power to the People
by Tom Greenland
Joe Henderson enjoyed widespread popularity only late in his career, when his cover albums for Verve achieved high (for jazz) sales figures, but since the early '60s he had been making excellent records, both as a sideman and a leader. Here at last is 1969's Power to the People, one of his best recordings made for ...
Arturo O'Farrill & the Afro-Latin Jazz Orchestra: Song for Chico
by Tom Greenland
Like the great Thad Jones-Mel Lewis band, pianist Arturo O'Farrill's Afro-Latin Jazz Orchestra combines the best aspects of a big horn sound with small-group finesse and flexibility. Song for Chico, O'Farrill's tribute to his legendary father, evinces the influences of South American rhythms, hard bop and what might be termed “post-Latin," representing the latest branchings of ...
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