Doors open at 7:30 p.m. and the music commences 60 minutes later. Call 860-434-0886 for reservations.
Here's a track from the Kitt CD, the delightful "I Rather Be Burned As a Witch":
On Friday night (2/26), The Side Door opens up for the Mike Casey Trio. The Hartford-area born tenor saxophonist graduated from the Jackie McLean Institute of Jazz at the University of Hartford and has played alongside the likes of trumpeter Charles Tolliver, pianist Marc Cary, trombonist (and one of his teachers) Steve Davis and bassist Dezron Douglas. The saxophone trio has been an honored tradition since Sonny Rollins recorded and toured with various rhythm sections in the mid-1950s (and recorded a number of Lps including "Freedom Suite" and "A Night at The Village Vanguard"). Joining young Mr. Casey will be bassist Matt Dwonczyk and drummer Corey Garcia.
Here's the Trio with a rousing reading of Jackie McLean's "Little Melonae":
anna yatskevich
Tenor saxophonist and composer Ken Fowser recently released his debut CD as a leader. "Standing Tall" comes after 4 CDs co-leading an ensemble with vibraphonist Behn Gillece, all, like his debut, on the PosiTone Records label.
Mr. Fowser is bringing his Quintet to the 9th Note, 15 Bank Street in Stamford this Friday evening. It's the same group that recorded "Standing Tall" including pianist Rick Germanson, trumpeter Josh Bruneau (a graduate of the Jackie McLean Institute), bassist Paul Gill, and drummer Jason Tiemann.
There's a breezy, bluesy, feel to the music on the album. One can hear the influence of the Blue Note Records sounds of the late 1950s through the mid 60s, for instance the sound of McCoy Tyner, Herbie Hancock, Freddie Hubbard, and early Wayne Shorter. To his credit, the young saxophonist does not imitate any particular saxophonist, mixing the essence of Shorter, John Coltrane, Joe Henderson, and Michael Brecker into his pleasing tenor tone. Bruneau has a crisp attack and articulates his notes with brio. He also has a mellow side, especially when he use a mute (as he does on "Hanging On." "Mode for Red" frolics at the pace of a high-energy Tyner track. One hears it in the opening chords and theme as well as during Germanson's short but rousing solo. Out of the 12 tracks, there is only one song over 6 minutes and that's the mellow, medium-tempoed "Timeless." "Filling In The Blanks" is a blues with one of Fowser's more emotionally rich solos.
The music on "Standing Tall" is good and is probably even better in person. The rhythm section is solid without being flashy (Germanson is so fundamentally sound) while both Ken Fowser and Josh Bruneau play with taste and, in the case of the trumpeter, with great fire. To find out more about the album, go to www.posi-tone.com/standtall/standtall.html. To learn more about the saxophonist, go to www.kenfowserjazz.com.
The gig on Friday night starts at 9 p.m. For reservations and more information about the venue's weekly calendar, go to www.the9thnote.com or call 203-504-8828.
Pianist David Berkman, saxophonist Tim Armacost, and drummer Gene Jackson formed the New York Standards Quartet in 2005 and wound up spending a lot of time playing in Japan. Each musician had his own career performing and teaching but so much enjoyed each other's company that they continue to get together each year for a trip to the Orient.
They've managed to record 4 CDs over the decade for 4 different labels. But "Power of 10" changes that part of the story in that it is the 2nd straight release to be issued by Whirlwind Recordings. There s also a new bassist n the group (Yosuke Inoue was featured on the first 2 and Daiki Yasukagawa on the next 2) and it just happens to be the head of the label, Michael Janisch.
www.theguardian.com
The band's format has not changed as they continue their personal spin on "standards." They like to put their own spin on these songs so there are 3 variations of "On Green Dolphin Street" including Berkman's concise solo piano Doll's Phone Cause" (:26 seconds) and Armacost's "Green Doll's Phone" and "Doll's Phone Effect." There is a medium tempo take on "All Of Me" (with Armacost on soprano) that has the energy of a McCoyTyner piece. The rhythm section really pushes these piece forward and the saxophonist whirl and dances above them. The choice of Elvin Jones' "Three Card Molly" is an inspired one as the powerful work is a highlight of the album. Jackson does not choose to imitate Mr. Jones but plays with his own sense of thunder; his intensity and the incessant pain chords push the Armacost (on tenor) to really dig in. Berkman follows and display his own sense of vigorous combination of chords and rushing single-note runs. Jackson's gentle but active brush work adds a lighter touch to the bittersweet reading of Billy Strayhorn's "Lush Life." Janisch is an excellent addition to the group, not only because he keeps the bottom of the sound moving but also he is an articulate and melodic soloist (one hears all that and more on the short "Secret Fondness", his intro to "Hidden Fondness", Berkman's hard-swinging take on "Secret Heart").
"Power of 10" is notable for its powerful music, intelligent interactions, excellent solos and music more. The New York Standards Quartet takes music many listeners are familiar with, styles we can put a name to, and creates a program that illustrates just how alive jazz can be.
Here's the NYSQ in concert with bassist Janisch from 2011:
Guitarist Ed Cherry, a New Haven CT native, first came ti critical notice as a member of trumpeter Dizzy Gillespie's bands from 1978 until 1992. His clean, clear, tone, his intelligent and funky chording, and his ability to make a melody stand out, all of that plus solos that incorporate jazz and blues, makes his music so attractive.
"Soul Tree" is his second release for PosiTone Records. Like 2012's "It's All Good", the guitarist utilizes an organ-drums-guitar format, this time with utilizing the talented duo of Philadelphia-based musicians, Kyle Koehler on the Hammond B-3 and Anwar Marshall on drums. The majority of the material covers a wide swath of the jazz idiom, from Jimmy Heath's "A New Blue" to Mal Waldron's "Soul Eyes" to John Coltrane's "Central Park West" yet the program opens with the trio's funky, high-energy, take on Kool and the Gang's "Let The Music Take Your Mind." Marshall's spirited drumming pushes his cohorts hard and with Cherry and Koehler respond with brawny solos. Cool organ tones lead the band into a quiet, tuneful, reading of Harold Land's "Ode to Angela" - Cherry's solo is so bluesy, the rippling phrases rolling over the movement of the rhythm section. The trio swings the heck out of Freddie Hubbard's "Little Sunflower" (note the excellent cymbal work of Marshall, how he pushes the tempo but the ride cymbal stays steady.)
The guitarist contributes 2 originals, the sweetly swinging "Rachel's Step" and the cool medium tempo ballad "Little Girl Big Girl". The former jumps atop the propulsive drumming and insistent organ chords yet the melody unfolds over several changes in tempo. The give-and-take with Marshall at the end of the first chorus is a pleasant surprise; that seems to give the piece its energetic backbone and the solos are spirited. The latter sounds and feels personal, as if the composer was painting a portrait of someone he deeply loves. The interaction of the guitar and the organ throughout the song plus the smart brushwork of Marshall at the beginning and the end stands out. Koehler's solo adds a bit of heat after Cherry's cool playing (a touch of Wes Montgomery shows up in his solo) but never shatters the calm demeanor of the tune.
"Soul Tree" lives up to its name on many levels; the music is certainly soulful and Ed Cherry pays tribute to his "roots" by playing songs that influenced him to create his own "voice." The contributions of Kyle Koehler and Anwar Marshall go a long way to making the album a most enjoyable listening experience.
Vocalist/pianist Champian Fulton has a new album, "After Dark" (self-released), dedicated to the music of Dinah Washington (1924-1963). Ms. Washington, born Ruth Lee Jones, started out performing in her adopted hometown of Chicago in her late teens, worked with numerous musicians and made her first recordings in a group led by vibraphonist Lionel Hampton. She signed with Mercury Records in 1946 and began recording a string of hits that ranged from blues to jazz standards to adaptations of country songs and much more. She sang with many fine bands and big bands, from Cannonball Adderley to Count Basie to Duke Ellington. Although there are still a number of albums and compilations available, you rarely hear Ms. Washington's music these days.
Along comes Ms. Fulton, the Oklahoma native who was born into a musical family (Dad is a trumpeter and educator). In an email conversation, she writes " When I was about 5 years old, my father began to buy me CD's, which were still a bit new back in the early 90's, and the second CD he gave me was "Dinah: For Those in Love". He thought I would love Dinah's singing, but also Clark Terry was a very good family friend, and that made the recording even more precious. I became obsessed with that record. I only had a walkman, so we had to make a cassette so I could listen to it whenever I wanted. Pretty soon I learned every song and every solo. My father and Clark thought this was HILARIOUS and would make me sing bits of the record at parties. After all this, when I was about 8, I decided all I would listen to was Dinah. So everytime we went record shopping, that's all I bought and eventually I had most of her recordings. I spent most of my younger years with her, only listening to Billie Holiday, Sarah Vaughan, etc etc, once I was a teenager. To this day Dinah remains my touchstone and my constant companion and inspiration. Doing this project was a great deal of fun, for that reason. I selected the tunes from among my favorite Dinah recordings, some were big radio hits and some were only big hits to me."
The new album features bassist David Williams, drummer Lewis Nash and, on flugelhorn and trumpet, her father Stephen Fulton. If you've not heard the music of Dinah Washington or only know her from her 1959 mega-hit "What a Difference A Day Makes", this recording will be a real treat. That song is here but with a subtle Latin rhythm and no big string orchestra. You'll hear the influence of the vocalist on Ms. Fulton and that's fine - Ms. Holiday and Ms. Vaughan can be heard but this is no imitation. And, this recording also has quite a fine piano solo. Dad turns up on "Ain't Misbehavin'", his muted trumpet work playing some fine blues lines. On "A Bad case of the Blues", the elder Fulton channels Louis Armstrong (at times) but stays in the horn's middle register. There's a great blues piano solo on "Baby Won't You Please Come Home" with Ms. Fulton ranging up an down the keys but always in her blues mode. Williams' thick tone on bass and Nash's splendid cymbal work also stand out. The program closes with "Midnight Stroll"; just piano on this reflective walk, the strong left hand keeping the bottom covered while the right hand tells the "story", telling the "truth" of why she's strolling alone.
Champian Fulton and band - Dad on flugelhorn Adi Meyerson on bass, and Ben Zweig on drums - will be this Friday February 19 at 9 p.m. in the 9th Note, now located at 15 Band Street in Stamford. The venue moved from its original home in New Haven some months ago and has been great entertainment 4 - 5 times a week. To reserve tickets and get directions, call 203-504-8828 or go to www.the9thnote.com. To find out more about Ms. Fulton, go to www.champian.net.
Here, give a listen:
On Saturday night (2/20), the 9th Note welcomes guitarist Syberen Van Munster and his Quintet. The Dutch guitarist and composer released his debut CD, "Plunge For Distance", last Marchand brings most of the musicians who participated on the sessions to the Stamford night club including Ben van Gelder (alto sax), Vitor Gonçalves (piano/accordion) and Rick Rosato (bass). Joining them on drums will be Mark Ferber, one of the finer drummers on the NYC scene. I have yet to hear the recording but below is a video of the title song which will give you an idea of the musical and emotional qualities in the guitarist's compositions. To find out more about his life and work, go to www.syberenvanmunster.com. For ticket information, call the club at 203-504-8828.
The Side Door Jazz Club in Old Lyme has yet another impressive weekend of music planned for this week. On Friday night, Jan and Ken welcome baritone saxophonist Gary Smulyan with the fabulous rhythm section of bassist Ray Drummond and drummer Billy Drummond (no relation). Smulyan, a native of Bethpage, NY, joined the Woody Herman Young Thundering Herd in 1978, a high-powered ensemble that also included saxophonist Joe Lovano and bassist Mark Johnson. He then went on to play with the Mel Lewis Jazz Orchestra as well as the Mingus Big Band and is now a mainstay in the Vanguard Jazz Orchestra. He's also worked with dozens of pop and jazz stars plus has recorded 10 albums as a leader. Smulyan is one of the baritone players who uses the full range of the big wind instrument and sounds great in every one of them
He and the Drummonds will hit the first notes at 8:30 p.m. For more information and ticket reservations, call 860-434-0886.
On Saturday, bassist Ben Wolfe returns to Old Lyme and he brings 2 of his favorite musicians and collaborators, pianist Orrin Evans and drummer Donald Edwards. Both appeared on Wolfe's excellent 2015 PosiTone Records CD, "The Whisperer" (that session also featured the fine reed player Stacy Dillard) and have recorded several dates as a unit (including the one below). Wolfe, who can swing with the best of them, also is a fine composer, writing tunes that bring out the best in the musicians who are featured. He's worked with vocalists Harry Connick, Jr. and Diana Krall as well as with groups led by Wynton Marsalis, his brother Branford, pianist Marcus Roberts, and drummer Carl Allen.
Doors open at 7:30 p.m. and the Trio will begin at 8:30. For more information, go to thesidedoorjazz.com or call the number above. To find out more about the bassist, go to www.benwolfe.com.
Here are Messrs. Wolfe, Edwards, and Evans playing the blues from Orrin Evans' "Flip The Script" CD on PosiTone Records:
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