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John Polito: Crossing The Line
by Jim Santella
With a focus on melody, pianist John Polito allows his compositions to ebb and flow with the tide. The forces of Nature play rather conservatively into the picture. Much of the session remains content to float drum backbeats and piano cascades in a smooth jazz backdrop. Mother Nature provided the earliest forms of music. Early man ...
Darren Barrett: Deelings
by Jim Santella
We are products of our environment. Darren Barrett chooses his. Strong influences have helped shape the trumpeter's sound, and he seems determined to allow nothing to affect his choices unless it's at the very top of the form. Clifford Brown's legacy appears through two classic ballads. Barrett has refined his tone quality to the point where ...
Carla Cook: Dem Bones
by Jim Santella
The title of Carla Cook's latest album refers to the trombone choir she's enlisted to blend with her silky smooth voice. Her natural ability makes this one work. Whether she's scat singing, crooning soft ballads, or spinning acrobatic vocalese, Cook is always on pitch and quite in control. Her expressiveness is what makes her performances special. ...
Nilson Matta & Hendrik Meurkens: Encontros
by Jim Santella
What does Brazilian jazz mean to you? Is it a soft, flowing melody that steps lightly along the beach? Is it a saucy samba that parades proudly and whistles your worries away? Don't forget the jazz part. Do the artists provide you with fresh improvisation and a rhythmic groove? The encounter between Hendrik Meurkens and Nilson ...
Freddie Hubbard: Fastball
by Jim Santella
Freddie Hubbard was running at full strength when this was recorded in 1967. Label M's sixth installment of its “Live" At The Left Bank series features the trumpeter's powerful improvisation in a loose setting with complementary artists sharing the stage. Each of the five selections runs over ten minutes, allowing plenty of time for each member ...
Robin Eubanks and Mental Images: Get 2 It
by Jim Santella
Robin Eubanks' electronic trombone is something else. Horn players have been trying for decades to create a vocal-like sound on their instruments. The plunger mute helped brass players when jazz was young. The electronic saxophone and EWI have allowed reed players to play harmony and create inspiring effects; yet, neither instrument has allowed sufficiently for vocal ...
James Cotton: It Was A Very Good Year
by Jim Santella
Singing traditional blues, James Cotton captures the original foundation as it was created centuries ago. How many times have you been working hard all day long at some particular task and just felt like singing “It's been a hard journey, baby, but I don't have to cry no more." Cotton's original, “One More Mile," moves slow ...
Bobby Matos & John Santos: Mambo Jazz
by Jim Santella
By allowing their bands to jam together for this project, Bobby Matos and John Santos have created a loose-knit, easy to like affair. Both percussionist bandleaders emphasize Afro-Latin jazz in their respective ensembles. Beside a colorful lineup of tuned drums and cowbells of different sizes, their combined orchestra has room for traditional Afro-Cuban vocals and fiery ...
Freddie Hubbard: New Colors
by Jim Santella
Freddie Hubbard and his New Jazz Composers Octet dig into the mainstream and come up with a winner. It's a team effort. Most of the selections are arranged by trumpeter David Weiss to reflect group interaction and a robust ensemble sound. Anchored by baritone saxophone and bass, the band aims for a dramatic flair as each ...
Erik Truffaz: Revisit
by Jim Santella
A remix album, Revisité brings back songs from last year's The Mask by trumpeter Erik Truffaz. They're presented through sensual images that have been “enhanced." Remixers Pierre Auditat, Pierre Henry, Bugge Wesseltoft, Alex Gopher and Gilles Peterson add rap, voice samples, scratches, whistles, fuzzy bass, throbbing bass & drumbeats -- and they organize each selection with ...
