[JPL] BOPNDICKS 10 PICKS MAY 2011

Robert Rusch rdr at cadencebuilding.com
Tue May 31 17:42:20 EDT 2011


hyperbole 
On May 31, 2011, at 5:32 PM, Dick Crockett wrote:

> 
> BOPNDICKS
> 10 PICKS   MAY 2011
> 
> 
> 
> AMBROSE
>  AKINMUSIRE         WHEN THE HEART EMERGES GLISTENING       Blue
> Note
> 
> The young very talented trumpet player,  Ambrose 
> Akinmusire, literally takes off on his debut with  Blue Note,
> displaying great depth and maturity on this CD.  He is a capable
> student to a higher degree of jazz consciousness, proffered and
> mentored by Jason  Moran and Terence Blanchard. 
> 
> 
> Ambrose  Akinmusire quintet is a cast of young, highly
> creative and very capable musicians, Gerald Clayton, piano, Walter
> Smith III on saxophone, Harish Raghavan, bass and Justin Browns on
> drums.
> 
> And, apparently they all know each other- learn by
> doing- together, very well. Probably at the high school jazz
> excursions in Monterey. 
> 
> 
> There's a strong core that you feel with this group.
> “Confessions”
> has incredible dynamics, powered by Justin Brown's incessant 
> drumming. 
> 
> 
> The counterpoint between Akinmusire and Smith III, 
> throughout is stunning.
> 
> The great thing about Akinmusire is he can blow soft
> with dexterity and contemplation, not just another, but a depth
> defying,  thinking man's trumpet player.
> “Regret”
> shows deep sincerity and trumpeter with an incredible lips, for
> Ambrose Akinmusire can make trumpet sound like a violin.
> 
> There are some very powerful hard bop sonic dreams going
> on,  in “Jaya.”
> “Henya”
> strikes me much like Miles did, in his modal days, decades ago.
> 
> The Ambrose Akinmusire quintet  is a powerful slate from
> the new sector of the non- sequitur, like Miles, soft dreams,  in
> “Kind Of Blue,” 
> 
> “When
> The Heart Emerges Glistening,”  it's a whole new happening...now.
> 
> 
> 
> ERIC
> REED TRIO     THE DANCING MONK  
>     Savant Records
> 
> Pianist Eric Reed gives Thelonius Monk a more elegant
> glow, as though Ellington was quite responsive as a psychic 
> contributor to  this CD,  “ The Dancing Monk.”
> 
> Outside the para normal, there really was a dancing
> monk, who would suddenly get up and dance behind his piano. What a
> great sense of a kinetic Monk as the audience can be  sure, as the
> man would do a soft shoe or two.  As it now swings, through Eric
> Reed's gifted articulation, then it must be as “Reflections,”
> becoming a romantic ballad.
> 
> As an an old classic movie of the past will inspire our
> remembrance of great actor, Eric Reed's new CD “Dancing Monk”
> will revive the many incantations the man and his music will
> engender. Eric Reed has revived the energy and joy that is prevalent
> in Thelonius Monk's music.
> 
> 
> 
> JOHN
> VANORE  &  ABSTRACT  TRUTH        CONTAGIOUS    WORDS
> 
> Acoustic  Concepts
> 
> This is a big band given to extraordinary measures.  The
> tunes are loose enough to give the musicians room enough to display
> ample room for circumspect planning and execution. The charts are
> very cool.
> 
> And when you hear, “You Go To My Head” with Michael
> Mee on alto, it'll take you back to those grand old Oliver Nelsons,
> on the  all night jazz show days, where big cities raised hell on
> radio, especially on FM, all night long, where there could be little
> and extended sets of confrontation, back to back big band and tenor
> battles, exciting and extemporaneous on early FM, in early sixties
> where creativity was burning up the airwaves, opposed to very little
> sets in use-jazz radio good old days.
> 
> Big media corporations could care less... no marketing
> or hyperbole was available, back then. The illusion was nobody was
> listening. But the surreptitious Grundigs were out there- sentinels
> in after hour foreplay.
> 
> It was in those days, you'd relish the sophisticated
> denouement that late night jazz radio implied. 
> 
> 
> Oliver Nelson's “Blues and The Abstract Truth” was
> the thematic that so many late night jazz show DJ's  would build
> around- big city urbanity that ruled the night til sunrise.
> 
> This is the kind of noir vision that trumpeter John
> Vanore implies with a new post modern Abstract Truth. 
> 
> “John
> Vanore & Abstract Truth” new CD, “Contagious Words” is as
> progressive, durable and sustaining as a Frank Lloyd Wright home and
> necessary in this helter skelter pop music world vanity.
> 
> 
> 
> 
> ELDAR
>  DJANGIROV       THREE STORIES – SOLO PIANO    Sony
> Masterworks
> 
> Pianist Eldar Djangerov has greatest opujnd swell  with
> his latest solo CD, “Three Stories!”
> 
> This is a pure joyous view of all of music.  Djangirov,
> (sounds like Django,)
> “Three
> Stories”  is a tour de force of  post modern, from Charlie Parker
> to Bach, to Monk, to Chick Corea, to Dave Mathews, to Eldar's “Three
> Stories,” this is a CD of  great magnitude. 
> 
> 
> Don' listen to me.  Just listen to the album of the
> year. 
> 
> 
> Watch Art Tatum on you tube's “The Greatest Piano Solo
> Ever,” and you get a fix on how brilliant a pianist this young
> Eldar Djangirov is, combining jazz, classical and pop.  
> 
> 
> Eldar's fingers are so maniacally fast, he may just go
> far beyond, indefinably, as the next greatest.  Implore this.  Eldar
> is more Stravinsky than Debussy. 
> 
> 
> After listening to Eldar's version of “Rhapsody In
> Blue,” doesn't one think that Eldar is currently one the world's
> greatest living pianists!?
> 
> 
> 
> SERGIO
> MENDES       CELEBRATION  A MUSICAL JOURNEY  Verve
> Music 
> 
> 
> This delightful and comprehensive 2 CD set covers a
> fifty year span of Sergio Mendes music and it's major  influence on
> the  American pop jazz scene.    
> 
> 
> In 1967,  I was a young DJ on WABX-FM in Detroit. And
> Sergio Mendes & Brazil 66 was the big album and we played it,
> highly requested “Mas Que Nada,” “Going Out Of My Head,”
> “Constant Rain,””The Look Of Love,””So Many Stars,” “The
> Fool On The Hill,””Night and Day”  and “Sittin On The Dock Of
> The Bay.” 
> 
> 
> In those days, it  was called the new MOR,  pop hit
> covers, laced with a  jazzy bossa feeling. 
> 
> 
> And Sergio would cover the best current pop and film
> hits with his signature, unique, attributable and highly definable
> bossa - nova sound and it was very successful for him
> 
> The Sergio Mendez sound adapts to almost all pop trends
> over the last  half a century, from disco to hip hop- Sergio Mendes
> with Gilberto Gil, Gracinha Leporace  and the Black Eyed Peas.
> 
> This kind of music would light up a night through the
> eighties, nineties and the 2 k of  the  new world sophisticates,
> outside the rushing smoke filled summer nights at the Greek Theater
> in Los Angeles and the Hollywood Palladium. 
> 
> 
> What a groove now that the years have added a step or
> two of groove, late night half step, a jump, a tremble, a jumble, a
> stomp, a flish, a flash and as the free style romp of “Waters Of
> March.”
> 
> As you listen to this, a celebration, a musical journey
> of Sergio Mendes- even as I have, lost a step or two in advancing
> age- there's something very joyous about this music.
> 
> Anytime, anywhere in a group of family and friends, put
> Sergio Mendes, “Celebration  A Musical Journey” on your music
> sound system and watch the reaction. How your friends sound more
> animated, happier, and when it's all smiles,  you may want to get two
> copies for this celebration, as joy among friends will last a while.
> 
> 
> 
> 
> 
> 
> RAY
> CHARLES        LIVE  In Concert         CONCORD
> Records
> 
> Ray Charles with a big band with youngsters Julien
> Priester, “Fat Head” Newman and Hank Crawford, recorded, live,.
> at the Shrine Civic Auditorium in Los Angeles, Sept. 20, 1964,
> remastered and released again in 2011, this, my friends, is indeed, a
> collectors dream!
> 
> The context, repor and extempore' of the concert remains
> intact- very few edits to mine ears. So the flavor of the show just
> about glisten with audience joyous partication, for this had to be an
> R&B celebration, a  'Come To Jesus' evening.
> 
> All the great Ray Charles hits are available, backed
> with a  big band powerhouse sound!
> 
> These evenings are always electric. What tricked me out
> was Charles version of “Margie.” (Brought back memories of my
> parents singing that song at basement parties on Kilbourne in
> Detroit.)
> 
> I'm a fan of the old R&B singers, Joe Turner, Sister
> Esther and Jimmy Scott, but when it comes to the best, nobody can
> cross all borders and make it fun, “In The Evening(When The Sun
> Goes Down,)” as the immortal Ray Charles.
> 
> 
> 
> CURT
> HANRAHAN  QUARTET     SOULJOURNER       blujazz
> label
> 
> Reedist Curt Hanrahan has really scored with a lovely
> nice mainstream sound. Recorded live at UWM Recital Hall and at
> Caroline's in Milwaukee, there's lasting quality to these
> performances-beginning with the title tune, Jim Sodke's upright
> sounding piano with Curt on flute, then blossoming to a long evolving
> blues excursion. 
> 
> 
> Then, “Pirate Vs Ninja” jumps up swinging and
> grooving in a skirting up tempo.  “Rumba Grave” involves a subtle
> Halloween groove.  
> 
> “Proclivity”
> enjoins a softer breathier Curt Hanrahan nature on alto.  
> 
> 
> Guitarist Jay Mollerskov has a moody Gabor Szabo effect,
> especially with his consistent lengthy solo on  “Proclivity.”
> 
> What's really so refreshing with  Curt Hanrahan's, “Soul
> Journer,” is the soft glow of sex in the afternoon.
> 
> This is what the music perceives- long extended
> secretive encounters, similar to the music-long extended evolving
> solos, that elaborate, existentially.
> 
> 
> 
> THOMAS
> MARRIOTT     HUMAN SPIRIT 
>   Origin Records
> Blessed
> with a full tone and a very solid sound, trumpeter, Thomas Marriott,
> has the command and the answer 
> as the West Coast's  hardest working trumpet player. He posesses a
> similare skill of a Lee Morgan, Freddie Hubbard, even echos of the
> immortal Clifford Brown.
> 
> In this scenario, “Human Spirit” with a  strong
> straight ahead brass/reed Hammond B-3 bop combination, starting  with
> stellar Hammond B-3 ist,  Gary Versace, alto  saxophonist Mark Taylor
> and an inventive  Matt Jorgensen on drums. By the time you hear the
> second selection,”Hiding In Public”, you along with the band are
> deep into the funk. My oh my, “Human Spirits”  reflects deep
> intentions of Brother Jack, Blue Mitchell, Kenny Dorham, Tina Brooks
> and sister, Shirley.  
> 
> 
> And of which “Low Key Lightly” a slow dance ballad,
> sounding like last dance, last chance, ages ago in Elkhart.
> 
> And hence “Yakima,” clearly establishes the course
> of Tom Marriott's “Human Spirit,” to all the East Coast bowling
> alleys that played this music over the decades, as straight ahead and
> lovingly as on this CD!  
> 
> 
> As any bop tune that ends, replete on a half measure.
> 
> 
> 
> R /
> E / D / S         SIGN  OF  FOUR     
> Origin Records
> 
> The distinctive sound of a baritone sax and guitar
> sounds very cosmopolitan-European. Ed Epstein is the baritone
> saxophonist. Dane Bjarne Roupe', the guitarist. Two other Danes are
> Goran  Schelin,  bass and Dennis Drud on drums. 
> 
> 
> Not since Shahib Shihab have I heard such sophisticated
> bop. Of course, Gerry Mulligan was probably the most progenitor of
> the bop Baritone.
> 
> This piano less quartet is more post bop-European-
> celebratory of the after hours clubs-everywhere.
> 
> The Epstein/ Roupe' collaboration is different,
> articulate and  highly referential to the new post modern.  
> 
> 
> 
> 
> CHUCK
> DEARDORF          TRANSPARENCE
>     Origin Records
> 
> 
> “Transperence” reveals Chuck Deardorf's amazing
> versatility on the upright, as well as the fretless and fretted
> electric basses,  an insight into Deardorf''s whole jazz bass
> curriculum. Yes, he's articulate in all current facets of modern
> music from rock fusion  on  “Dear Prudence,” to the facile
> fingering in  time and tempo of the upright on “Bruzette,” “Alone
> Together,” a dramatic duet with Bill Mays on “Moon and Sand,”
> where Deardorf's  uncanny ability to carry the melody as a matador of
> the bass- a special bookmark of this CD. 
> 
> 
> Deardorf's  intricate Latin interpretations are highly
> regarded here with challenging arrangements on “De Mansinho” and
> Jobim's “Zingaro.”
> “Creatinine”
> states an contemporary avant gard view, showcasing guitarist Rick
> Peckham's  burning dissonance.  
> 
> 
> Then the closing interpretation of Jimmy Rowles
> “Peacocks” is endearing with Bill Mays piano lines overview,  of
> which Hans Tauber imposes a sonorous saxophone refrain with room
> enough for Deardorf's rather articulate-not since Pettiford- approach
> on the final green of the Masters. Believe me, you'll not hear as
> much lush history and jazz prominence, as,  in this marvelous
> arrangement.
> 
> What can I say, for this “Transparence” by Chuck
> Deardorf  is the denouement of all denouements. There's much variety
> and good music on this CD.
> 
> 
> 
> ONES
> TO WATCH:
> 
> 
> 
> NEW
> TRICKS           ALTERNATE SIDE...     New
> Tricks Records
> 
> Trumpet player, Ted Chubb and saxophonist Mike Lee team
> with NYC dwellers bassist Kellen Harrison and drummer Shawn Baltazar
> to create a kind of  bop madness I haven't heard since the  anarchic
> Ornette sixties. This is the kind of music that's kept among the
> smoke filled, humidified bistros and jazz cellar dwellers of the
> world. For “New Tricks” who probably have up front daytime gigs,
> go underground with this funky blues infused CD, recorded in Shawn
> Baltazar's apartment, all in the same room, with blankets wrapped
> around music stands for the separation.  
> 
> 
> I can dig it! That why I recommend it, for this is the
> way it is and used to be.
> 
> 
> 
> THE 
> SHERYL  BAILEY  4       FOR ALL THOSE LIVING 
>    Pure Music Records
> 
> Guitarist Sheryl Bailey shows a vitality and enthusiasm
> for the bop jazz guitar stylists, Kenny Burrell and Tal Farlow. 
> She's straight ahead with a smooth definitive touch on “An
> Unexpected Turn,” and about cooks on “For All Those Living.”
> 
> Pianist Jim Ridl provides a nice  embellished
> counterpoint, to her minimal rhythmic approach.  Bailey providers a
> delicate nuance on “A Muse Sings” with bassist Gary Wang. 
> “Masa's Bag” is close to a blues bop frame, as Jim Ridl adds a
> funky run. Good tune, only difference is that Grant Green would do it
> slower.
> 
> Sounds to me “For All Things Living,” that Sheryl
> Bailey can get down to the basics. There's no shuck and jive in her
> dedication, as a soul sister to the gospel  truth of hard bop.  Then,
> her hypnotic,  almost modality on “29-11” reveals a vitality and
> dedication. Her picks and runs are stunning-it can leave you almost
> breathless. This lady is in charge and in command of her craft. 
> “Moblin' is a word about blue collar dedication in the rust 
> 
> 
> belt of America, that tells the whole story.
> 
> 
> 
> 
> 
> 
> WILLIE
> NELSON /  WYNTON MARSALIS featuring NORAH JONES       HERE WE GO
> AGAIN        Blue
> Note
> 
> Willie Nelson, Nora Jones and Wynton  Marsalis in the
> same room- on the same stage together, has to be of all time. At an
> after hours club, or as we say in Detroit, a blind pig, altogether
> has to be an anathema to the state of things, years ago in this small
> town of the mind. 
> 
> 
> But here they are, struttin on the same stage together,
> a country western icon, a alternative contemporary singer and a jazz
> legend, appearing in this tribute, “Here We Go Again -Celebrating
> The Genius Of Ray Charles.”
> 
> Let me get this  straight, this performance was
> recorded, live, at the Rose Theater, Frederick P. Rose Hall, Jazz At
> The Lincoln Center, NYC. I think that's right.
> 
> It could have been a jam session throughout  the history
> of honky-tonk New Orleans, that 's why it's so G D a goodie!
> 
> 
> 
> JAZZ
> PISTOLS      SUPER STRING          Cherry
> Town Music
> 
> This German electric jazz trio is super
> eclectic-electric with guitarist Stefan Ivan  Schafer, Christoph
> Victor Kaiser on the six string bass and drummer Thomas Lui  Ludwig,
> comprising the Jazz Pistols. .
> 
> A circumventing line runs through title tune,
> “Superstring,” almost the same never happens twice- it
> does-you're just blown away- embellished by Guitarist Stefan Ivan
> Schafer, leading off  with blazing forays, he covers with constant
> time signatures. And that's just the beginning with the versatility
> of Christoph Kaiser on the six string.
> 
> From Hamburg, Jazz Pistols tour through out Europe, jazz
> bistros and such-there's a nice interpretation of Chick Corea's
> “Spain-” offering a nice fix on this band.  
> 
> 
> They're versatile and seemingly can play anywhere.
> 
> But here in America, how do show case this very dynamic
> group. Here you have a cross between Jeff Beck and Joe Zawinal.  Do
> you do a light show like a Joe Satriani, or do you tone it down, let
> the music tell the story? I see the potential in both presentations.
> 
> Great new band. Stay tuned.
> 
> 
> 
> AIM 
> HIGH     MAD ROMANCE       Mad
> Romance Music
> 
> Florida is the perfect place for this singing group. But
> there's a sweet spot for me for this has “The Modernaires,”
> maybe,  even The Swingle Singers.
> 
> Mother would've loved this band.  She recently passed
> away in Dunedin.  She lived a full life of 90 years. Her favorite
> song was Charles Chaplin's  “Smile.” 
> 
> All
> across South Florida, Miami over Alligator Alley to the West Coast,
> from the Atlantic to the Gulf, through Orlando, up to the panhandle ,
> across to Jacksonville, “Aim High” resonates with Florida seniors
> of the big band years. Those who like to cuddle and dance the fox
> trot.
> 
> However, this band can be very hip with “Time Of The
> Season, ” and “You Make Me Feel Brand New.”
> 
> What I'm saying is …Florida is the perfect place for
> Aim High.
> 
> This aggregation is hipper than you can imagine.
> 
> 
> 
> 
> 
> 
> DICK
> CROCKETT
> “The
> Voice”  88.7FM
> 
> 4623 T Street, Suite A
> 
> Sacramento, Ca 95819-4743
> 
> accesssacramento.org
> 
> 
> 
> 
> 
> 
> --
> 
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Note: This post may contain misspellings, grammatical errors, disorganized
sentence structure, or may entirely lack a coherent theme. These elements
come  naturally  to me  and will only add to the overall beauty of the
email. Overlook the style and know  that if you can discern the message it
is sincere.

Robert D. Rusch





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