Springing and Swinging!

One of the joys of Spring (for some of us) is opening the windows, sitting outside, and listening to music. Here are three viable candidates for backyard (or indoor) enjoyment. 

Photo: Anna Yatskevich

Saxophonist, flutist, composer, and arranger Alexa Tarantino is a busy musician. She plays with DIVA! Jazz Orchestra, with Arturo O'Farrill & His Latin- Jazz Orchestra, with the Steven Feifke Big Band, with vocalist Cecile McLorin Salvant, and others.  Ms. Tarantino is adept on soprano and alto saxophones, flute, alto flute, and clarinet who serves her well in her various musical assignments. She's also an educator serving on the Faculty of Jazz at Lincoln Center as well as the founder and director of the Rockport Jazz Workshop (Rockport, Ma).  Posi-Tone Records producer Marc Free has posited Ms. Tarantino in his "curated" groups such as Lioness, Works for Me, and Something Blue plus paired her with baritone saxophonist Lauren Sevian.  She's issued two CDs as a leader for Posi-Tone and has been a featured soloist in several ensembles.

The third album under her name, "Firefly", finds the young lady in the company of Behn Gillece (vibraphone), Art Hirahara (piano, Fender Rhodes), Boris Kozlov (bass), and Rudy Royston (drums and percussion).  The four gentlemen are Free's choice for his "Lockdown" group as they have became (along with drummer Donald Edwards) his rhythm section during the pandemic recording sessions.   All but two of the 12 tracks on the disk are originals by the leader and group members with a pair of Wayne Shorter tunes ("Iris"and "Lady Day") filling out the program. The album opens with the pianist's "Spider's Dance", a medium-tempo tune with a sweet melody for alto sax and the comforting vibes providing a soft cushion for the song. Gillece contributes the next piece, "Mindful Moments" which finds the leader on flute and Hirahara on Rhodes.  There's a gentle quality to both of these tracks with the latter rising on the easy push from the bass and drums plus the sweet combination of Rhodes, vibes and flute.

Photo: Anna Yatskevich

Ms. Tarantino's piece, "Daybreak", has the funky feel of Marvin Gaye's "What's Goin' On" with the insistent nature of the Motown classic.  Kozlov and Royston do a fine of job of making sure the music has a groove and always moves forward.  "Surge Capacity" leaps out of the speakers on top of rapid "walking" bass lines and frolicking drums. Ms. Tarantino and pianist Hirahara really get fired-up when it's their time to solo plus they enter into a delightful "trading fours" with Royston before all is said and done.  Rhodes and bass introduce the powerful "Rootless Ruthlessness"; when the band enters, the music scurries forward propelled by the rampaging drums and Kozlov's furious bass lines.  When the alto sax solo begins, the band has dropped into slow-motion with Royston all over his drums, Hirahara running his hands up and down the Rhodes, and the bassist sending urgent musical messages. Soon, the music is at break-neck speed and rushing to its climax.  

Ms. Tarantino caresses Wayne Shorter's melody on "Lady Day", the lovely ballad evoking Billie Holiday's unique way of presenting a melody.  Kozlov's lovely bowed bass solo is a highlight as is the leader's ever-so-sweet alto solo.  Shorter's "Iris" is a also a ballad for alto sax and features an impressionistic piano solo, lovely colors from Gillece, and the intelligent work of the bassist and drummer.

 "Firefly" closes with "The Firefly Code", another medium-tempo piece that is dedicated to the resilience of people as well as musicians since the pandemic began.  The sound of the flute supported by the vibes feels comforting plus there is a surprising drum solo that raises the intensity level; listen for the "surprise" ending!  Overall, "Firefly" is an aural treat on which Alexa Tarantino shares the spotlight with her four-piece band. She is generous in sharing the spotlight, the songs do not dawdle with only a pair over six minutes, and the sound quality is clear and cool.  Enjoy! 

For more information, go to https://alexatarantino.com/. 

Photo: Anna Yatskevich

A month before Ms. Tarantino's September 2020 recording sessions, Behn Gillece took Messrs. Royston, Kozlov, and Hirahara into the studios to record the 10 tracks that make up his fourth Posi-Tone album "Still Doing Our Thing".  The vibraphonist contributed seven originals to the program, several of which have titles that reference the musician's issues with the pandemic. Songs such as "Back to Abnormal", "Don't Despair", "Going On Well", the title track, and Royston's "Glad to Be Back" carry titles that illustrate how these musicians are dealing with having their lives turned upside down. Yet, the overall feeling one gets listening to this music is the joy the musicians have for being able to get together and play.  

One of the most impressive aspects of Gillece's compositions is that while the music does not seem complex, the pieces are well-organized, have strong melodies and rhythmic fire, and are ripe fodder for soloists.  Take the opening track, "Extraction".  The composer introduces the melody; the rhythm section with Hirahara on Rhodes set a wicked pace and the vibraphonist takes off.  Chances are you'll dig the solo but do pay attention how Kozlov and Royston set the torrid pace while the pianist lays down the chordal structure.  The next track, "Rattles", has a similar opening but this time Hirahara and Gillece share the melody while the beat is decidedly funky.  Both the pianist (acoustic) and the leader share the solo space feeding off each other's lines.  The rhythm section is relentless during the solos, pushing, shoving even, as the intensity level rises to the boiling point.

Among the other highlights is the leader's lovely ballad, "Blue Sojourn", which shows the influence of Billy Strayhorn.  The song is a duet for vibes and piano and includes an emotional and lovely solo from Hirahara.  There's plenty of space in the vibes solo giving the notes time to breathe. Kozlov's "Outnumbered" finds the bassist going "electric" supported by the pulsating chords from the Rhodes.  The piece may remind some of Chick Corea's Return To Forever especially in Kozlov's throbbing bass, Royston's "attack-mode" drumming, and the incredible forward motion.  Tenor saxophonist Nicole Glover joins the trio (Royston sits out) for Hirahara's "Event Horizon", her lighter attack a pleasing contrast to the flowing yet percussive piano and vibes.   

Photo: Anna Yatskevich

The album closes with Gillece's soulful musical plea, "Don't Despair".  The ballad has a handsome melody played by the leader and Kozlov (electric bass).  Hirahara is back on Rhodes, the lighter sound of the keyboard meshing well with the rounder bass tones (listen to the excellent music the bassist is creating) and Gillece's soothing vibes chords.  

It's good to know that Behn Gillece, his compatriots, and producer Marc Free are "Still Doing Our Thing".  This music has the power to pull listeners out of their doldrums, giving us hope for when we can get out and see/ hear music in person.  In the meantime, open the windows and let this music flow!

For more information, go to www.behngillece.com.  To hear more and purchase the album, go to. https://behngillece.bandcamp.com/album/still-doing-our-thing. 

Give a listen to the closing cut:

Saxophonist, educator, and radio show host Tom Tallitsch never fails to impress when it comes to making music, having a great cohort of musicians, and swinging with abandon.  If one has to classify his music, it comes out of the flow of the late 1950s through the mid-1960s Blue Note/Prestige Records sounds.  Much of the music kicks hard but rarely boils over.  Yes, there is a hint of John Coltrane's emotional style in the tenor saxophonist's phrasing and an urgency in his uptempo piece that show the influences of Freddie Hubbard, McCoy Tyner, and Jackie McLean.  He's not a zealot for any particular style but Tallitsch has a melodic streak a mile wide making his songs stand out for their emotional strength and, yes, the fire that comes from really exploring his repertoire.

Earlier this year, Tallitsch issued his 11th album as a leader, "Message", the fourth release on his TT Productions label. Featuring his working band of Mike Kennedy (guitar), Neil Podgurski (piano), Matthew Parish (bass), and Dan Monaghan (drums), the program features nine original pieces by the leader.  The album opens with the appropriately-titled "Let's Go!" which jumps out from the first note and does not relax for seven-plus minutes. Fueled by the thick piano chords, a romping bass, and rock-steady drums, Tallitsch takes the first solo flying over the rhythm section with glee.  Kennedy displays touches of Herb Ellis and John Pizzarelli in his lively spot while you hear hints of McCoy Tyner in Podgurski's lively solo.  Parish's short yet powerful solo leads to the everybody "trading 4's" with Monaghan.  

The leader switches to soprano sax for the medium tempo "Bubble". Meshing his sound with the guitarist on the melody, the tune feels a breath of fresh after a long winter (and the album was recorded in January 2020!)  "Dusk" is a bluesy ballad with Tallitsch's tenor sketching the melody. Podgurski, who works with the Capt. Black Big Band and drummer Chad Taylor's Trio, creates an impressionistic solo supported by the melodic bass and steady drumming. Listen to what guitarist Kennedy adds in the background especially during the leader's delightful solo. Then, there's "Mablestates", a lovely reconstruction/ tribute of and to Benny Golson's classic "Stablemates."  Golson first recorded the piece in 1958 with his Philadelphians; Tallitsch's loving remake is also performed by musicians active in the Philly jazz scene. There's a "cool" feel to the tune and, once again, the leader's sax plays the melody in tandem with the guitar.  

The album's final two tracks are like day and night.  "In The Weeds" is a powerful, hard-bop, filled with fiery work in the rhythm section and strong solos from piano, tenor sax, and guitar. There is a clever change near the end that should make you smile.  "Moon" closes the album, a ballad that is takes its time to unfold. The richness in Tallitsch's tenor sound stands out, an emotional highpoint on the album.  The guitar solo starts quietly before picking up in intensity but Kennedy knows when to back off so as not to upset the gentler nature of the ballad.

This "Message" is clear –– Tom Tallitsch and company make human music, not trying to overwhelm you with technique but reminding us all that there is room in this music for melody, for rhythm, and for intelligent interplay. Give a listen!

For more information, go to www.tomtallitsch.com.  To hear more and to purchase the album, go to  https://tomtallitsch.bandcamp.com/album/message.  

Here's the band in the studio recording the opening track:

Posi-Tone at 25 (and Still Growing)

Posi-Tone Records, based in Los Angeles, CA, continues to carry on in the jazz tradition of Blue Note, Prestige, Mainstream, and other labels from the 1940s-1960s. Co-owner and producer Marc Free gathers great, often young, talent, gives them guidance, a studio, and the big ears of co-owner/ Chief Engineer Nick O'Toole, smart packaging, and tireless promotion. Over the past 15 years (the label opened for business in 1995 but really rebooted in early 2006), starting with the debut album by pianist Ehud Asherie's"Lockout"), Free and O'Toole have recorded and released albums by organists Jared Gold and Brian Charette, trombonists Steve Davis, Nick Finzer, and Michael Dease, saxophonists Doug Webb, Roxy Coss, Ralph Bowen, and Tom Tallitsch, pianists Orrin Evans, Art Hirahira, and Jon Davis, bassists Ben Wolfe and Peter Brendler, trumpeter Jim Rotondi, and so many others. The label has also debuted projects by Evans's Captain Black Big Band, trumpeter Josh Lawrence, vibraphonist Behn Gillece, pianist Theo Hill, and saxophonist Alexa Tarantino. Over the past several years, Free has been putting together artists from the label's roster and creating a series of "studio" groups starting with 2018's "Straight Forward" by the sextet New Faces that combined the talents of Ms. Coss, Lawrence, Gillette, Brendler, Hill, and drummer Vinnie Sperrazza.

Now, in 2020, Posi-Tone continues to do what the co-owners do best––make good music that swings! Happy Birthday to them!

Photo: Anna Yatskevich

Farnell Newton was born in Miami, FL and then moved to Philadelphia, PA. He is a big man and gets a big sound out of his trumpet. After graduating from Oberln Conservatory of Music, Newton moved to Portland, OR, where he and family still live. Newton has played with lots of people from various genres including Bootsy Collins, Jill Scott, Stevie Wonder, Galactic, and the Portland String Quartet plus he leads his bow funk band, The Othership Connection.  He's self-released a number of different albums and singles on his Portland-based label and signed to Posi-Tone in 2017. His first album for the label, a quintet date titled "Back To Earth", featured his West Coast band on a program that really swung.

"Rippin' & Runnin'" is his second date for Marc Free; this time, Newton is supported by Brian Charette (organ) and Rudy Royston (drums) while his front-line partner is Brandon Wright (tenor saxophone), all veterans of numerous recordings on Posi-Tone.  The eight-song program features four Newton tunes and one each from Wright, Ezra Weiss, Tom Tallitsch, and Duke Ellington.  The music ranges from the greasy funk of Tallitsch's "Gas Station Hot Dog" (check out the organ and drums–oh my!) to the leader's fast-paced title track to Weiss's New Orleans-soaked "The 5 A.M. Strut" (marvelous trumpet work and it's a pleasure to hear Wright strut his stuff). Charette and Royston are a delight throughout (Mr. Producer, give them their own album, please).

Photo: Anna Yatskevich

On such a powerful album, the ballads are bound to standout.  Te leader's "Little Bird Rose" moves ever-so-slowly, its sound and feel more aligned to soul/ r'n'b music than to jazz.  The only solo goes to Charette (just his keys and Royston's quiet brush work) while the trumpet and tenor sax read the theme and reprise it at the end.  The program closes with Ellington's masterful "Come Sunday."  Newton arranges the melody section that he plays the opening two lines alone and then Wright joins in on the last; the sax leads the way into the chorus and the trumpet joins for the last line.  The trumpet solo is pure gospel (with a touch of Louis Armstrong and Lester Bowie) while the tenor solo has shades of the blues throughout.  Perfect close to a fun listen!

"Rippin' & Runnin'" might not heal any diseases but chances are quite good you'll feel a lot better listening to this quartet having so much fun making music. Farnell Newton sounds great and his bandmates are top-drawer––all in all, get in the groove and move to this music!

For more information, go to farnellnewton.com.

Here's one of the delightful Newton originals:

Photo: Anna Yatskevich

To mix old quotations, Idle Hands makes "such sweet music".  There are six sets "Hands" in this Marc Free-organized ensembles; the sextet includes Will Bernard (guitar), Sam Dillon (tenor saxophone), Behn Gillece (vibraphone), Art Hirahara (piano), Boris Kozlov (bass) and Donald Edwards (drums). Like most of Free's "groups", each musician has with recorded for or with the label.  This rhythm section is a true knock-out, Kozlov well-known for his work with the Mingus Big Band while Edwards is best known for his solo albums on Criss Cross plus his  dates with pianist Orrin Evans (the drummer also has worked with the Mingus BB). Hirahara is a stalwart whose Post-Tone albums are quite impressive.  Gillece, who is in several of these label "groups" continues to impress while Dillon is the "kid" here but his elders give him plenty of room to play. Bernard, whose funk-driven albums are delightful, is an excellent voice in this mix.

"Solid Moments" is a good name for the sextet's debut.  The 12-song program features, at least, one original from each member plus  pieces composedly Stevie Wonder and Freddie Hubbard. Of Gillece's two pieces, "Maxwell Street" swings in a slippery, funky, fashion and features strong solos from Dillon, Hirahara, and the composer while his "Barreling Through" opens the album in an exciting fashion with a bopping melody and several tempo changes. Bernard's "Silver Bullet" jumps right along with a fiery solo from Dillon and a "cool" solo from the composer. You'll love the bounce in the ensemble's steps on Edward's "Dock's House" – the music moves is such a sinuous fashion thanks to the rhythm section (after all, the drummer was born in New Orleans). Fine solos all around from Dillon, Bernard, Gillece, and, especially, Hirahira whose fingers are dancing with glee.

Photo: Anna Yatskevich

Two pieces that stand out for this listener are the pianist's (pictured left) "Event Horizon" and Kozlov's handsome ballad "Ashes".  The former rides in on a long melody, well-designed, melody; Dillon gets the first solo with support from the composer's excellent work in the background, Gillece's ringing vibes, and Bernard well-placed chords.  Hirahara's solo piano introduction on the latter track is quite dramatic leading to a gentle, powerful, melody line played by guitar, vibes, and piano.  The rhythm section drops and the piano has a short interaction with the vibes before the band comes back in for Dillon's take on the melody.

Idle Hands are hardly dormant on "Solid Moments"––in fact, they seem to be having an enjoyable time playing together.  This album stands out not only the musicianship but also the overall high quality of the compositions. One hopes that someday this sextet will get to perform in person but, in the meantime, wrap your hands around the album!

Here's the Art Hirahara original:

Photo: Anna Yatskevich

Works For Me, one more group organized and named by Marc Free (after one of his favorite John Scofield recordings), is a fascinating blend of veterans and newcomers, women and men. Featuring Alexa Tarantino (alto and soprano saxophones, flute), Caili O'Doherty (piano), Adi Myerson (bass), Tony Davis (guitar), and Joe Strasser (drums), the quintet explores on its debut a nine-song program including seven originals (three by the bassist plus two each by the pianist and guitarist) as well the opening "Jinrikisha" (Joe Henderson) and the closing "Send One Your Love" (Stevie Wonder).

Ms. O'Doherty composed the title track, a medium-fast piece with fine soprano sax work from Ms. Tarantino, dancing drums, and a graceful melody. The pianist, whose 2015 debut album "Padme" (Sunnyside) was quite impressive, is an excellent soloist as is Davis whose guitar phrases truly push the piece forward.  His tune, "Lake Sebago", has a handsome melody played by Ms. Tarantino on flute – listen to the chordal structure of the piece as it's quite intelligently constructed.  Davis also composed "El Gran Birane", a piece that its roots in contemporary r'n'b yet retains a jazz feel.  Thick piano chords and solid drumming support the guitar solo while Ms. O'Doherty creates her adventurous solo over just bass and drums.   Ms. Tarantino really digs down deep – there are moments when her alto sounds more like a tenor sax – for a short yet pithy pair of choruses.

Photo: Anna Yatskevich

Ms. Myerson's "Your Smile (Keeps Me Sane)" is a lovely ballad with delicate work from the rhythm section plus smart solos from the alto saxophonist and the pianist (pictured left) with the guitar only utilized during the readings of the song's melody.

The quintet delivers a sweet version of Mr. Wonder's "Send One Your Love" (an apropos message for these times). Strasser and Ms. Myerson create a solid cushion for the front line and Davis take full advantage, creating a delightful solo that hints at Wes Montgomery as well as being quite soulful.

"Reach Within" is a good debut with the only caveat that several of the pieces could stretch out a bit more.  That aside, Works For Me is a quintet filled with promise and this writer looks forward to hearing more from each artist over the coming decades.

Here's the title track (composed by Ms. O'Doherty):

Saxophonists Take Center Stage + Two Collectives

Tenor saxophonist and composer Melissa Aldana, born and raised in Santiago, Chile, first played the saxophone when she was six years old with her musician father as her teacher. Her musical life was accelerated upon meeting pianist Danilo Pérez who invited her to play at The Panama Jazz Festival. From there, she auditioned for was admitted to the Berklee College of Music in Boston, MA. After graduation she recorded her first albums for Greg Osby's Inner Circle Music (2010 and 2012) -in 2013, Ms. Aldana became the first South American person to win the Thelonious Monk Jazz Saxophone Competition.  Her third album, released on Concord Jazz in 2014, and fourth, released in 2016 on WOMMusic, both featured her Crash Trio comprised of bassist Pablo Menares with drummers Francisco Mela (2014) and Jochen Rueckert (2016).

Her fifth album as a leader, "Visions", finds her on the Motema Music label. Menares is still with her but now the ensemble is expanded to a quartet featuring Sam Harris (piano, Rhodes) and drummer Tommy Crane with special guest Joel Ross (vibraphone) on eight of the 11 tracks.  The addition of Harris obviously fills the sound out and also opens up Ms. Aldana's compositions to new possibilities. The title song, composed with Frida Kahlo in mind, features powerful piano chords (a la McCoy Tyner and Fabian Almazan) which give the music depth and, really, unlimited range. On first impressions, this music may remind you of Miguel Zenon's Quartet in the way the musicians interact, how Crane and Menares give the music such space and breathing room yet are also an integral part of the melodic development. Hear the duo shine on the ballad "Abre Tus Ojos" and then how they drive the band on the next track "Elsewhere." On the latter track, the bass line suggests "A Love Supreme" but the propulsive drive from the drums and piano moves the music in other directions.

Photo: Anna Yatskevich

The music is also quite dramatic. On "Dos Casas Un Puente" and "The Search", the group takes its tie setting up the melody and them playing its way through the head before opening up to solos.  It's fun to hear both Ross and Ms. Aladana ride the percussive drive on the latter track snd how the vibraphonist sets up the former tune's attractive melody line (playing in unison with the saxophonist).  The bassist's "Perdon" is a handsome ballad with fine harmonic flourishes from Harris.  The other piece not composed by the leader is "Never Let Me Go" - composed by Ray Evans and Jay Livingston for the long forgotten movie "The Scarlet Hour" (1956 - Nat "King" Cole" played the song in the movie). It's a sweet ballad with a lovely unaccompanied opening from Ms. Aldana as well as a handsome piano solo.

Photo: Harrison Weinstein

"Visions" is a mature statement from Melissa Aldana who has, over the past decade, grown steadily as a musician and composer.  She has moved past the influences of her father, of teachers Joe Lovano, Bill Pierce, and George Coleman into her own voice. And, the fact that she works with this band on a regular basis is a big plus. Five of these songs appear on a live recording made in late August in Santiago, Chile (available on iTunes and Amazon.com) - it's a quartet date (Joel Ross is not on the album) and it's fascinating to compare the songs (there's really not much difference only that the songs are longer on the live date and Harris's contributions stand out even more).  All told, "Visions" is an album to savor, to play all the way through because the stories that Ms. Aldana and her group tell are so involving! Also, dig the great cover art from Cecile McLorin Salvant.

For more information, go to www.melissaaldana.net. As, a link to her purchase page - melissaaldana.lnk.to/visionsEM.

Here's a track:

Alexa Tarantino, who plays alto and soprano saxophones plus flutes, is a graduate of the prestigious jazz program at Hall High School in West Hartford CT, and graduated from both the Eastman School of Music (Rochester, NY) and the Juilliard School (NYC). She's worked and recorded with drummer Sherrie Maricle's DIVA Orchestra plus with Arturo O'Farrill's Afro-Latin Jazz Orchestra, and with Cecile McLorin Salvant's OGRESSE.  She leads her own Quartet and is co-leader of LSAT (with baritone saxophonist Lauren Sevian).

2018 was a very busy year of recording for Ms. Taratino resulting in three releases in the first five months of 2019. "Winds of Change" is her debut as a leader for Posi-Tone Records. With the splendid rhythm section of Christian Sands (piano), Joe Martin (bass), and Rudy Royston (plus trombonist Nick Finzer on three tracks), she glides, soars, and dances her way through 10 tracks, eight of which are originals.  Listen to the band swing on "Breeze" (complete with a sweet alto sax solo) and set the speakers on fire with the infectious "Face Value."  She's generous with the solos, making sure that Sands, who is a delight throughout, gets the spotlight on numerous occasions (his far-ranging statement on "Undercurrent" is a real treat).

Photo: Anna Yatskevich

Ms. Tarantino plays with authority and assurance throughout - she is certainly ready to be a leader. The alto flute is featured on Antonio Carlos Jobim's "Zingaro" - note how softly the rhythm section plays yet still moves the song forward (excellent counterpoint from bassist Martin).  The ensemble roars with delight on "Ready or Not", a hard bop original played at breakneck speed.  She matches Sands's incredible solo with a very statement of her own - notice how she interacts with both the pianist and Royston plus leaves plenty of room for Finzer to raise his own ruckus.  On the appropriately titled "Calm", she creates a handsome melody for her alto and for the echoing trombone.  It's fun to hear her weave the melodic lines together. Check out what the rhythm section is playing under both the trombone and alto solo, how they push the music a bit "out"when Ms. Tarantino reenters and raising the ante for her solo, truly disrupting the "calm."   The album closes with "Without"; the song opens as a duo for alto and piano before the rhythm section tiptoes in. There's just a hint of Johnny Hodges in the alto sound, not surprising as the tune also resembles Billy Strayhorn's "Blood Count."  Yet, the final minute of the song leads the listener in a much different direction.

Photo: Steven Sussman

"Winds of Change" is a powerful debut for young Alexa Tarantino (26 as of the writing).  No telling where her journey will take the composer and instrumentalist but it should be fun to hear.  Great choice of sidemen on this date as each brings such great strength and creativity; they make each song "sing" in its own fashion. That written, Ms. Tarantino gives them some excellent material to work with! A pleasure to sit down and spend time with, "Winds of Change" is worth your attention.

For more information, go to www.alexatarantino.com.

Here's the opening track:



Here are the two "collective" albums Alexa Tarantino was part of for Positive-Tone Records.

Posi-Tone co-owner and producer Marc Free put Ms. Tarantino together with trombonist Finzer and drummer Royston for the June 2018 recording session that resulted in "Maximum Enjoyment." Filling out the sextet - named Something Blue - are tenor saxophonist Sam Dillon (whose Posi-Tone debut was issued in early May of this year), pianist Art Hirahira, and bassist Boris Kozlov. The ensemble plays five originals from its members plus seven other tunes from the label's stable of artists.  Opening with Behn Gillece's "Slick", the music hits hard with good solos all around. Other Posi-Tone artists represented here are guitarist Amanda Monaco ("Coppertone"), saxophonist Jacam Manricks (the appropriately titled "Cluster Funk"), bassist Peter Brendler ("Stunts and Twists", a bluesy ballad, no less), and saxophonist Travis Sullivan (the hard-hitting album closer "New Directions").

 Photo: Sara Pettinella

Pianist Art Hirahara contributes two excellent songs to the album including the handsome "Aoi Blue." The blend of the saxophonists with trombone suggests Art Blakey's Jazz Messengers with Curtis Fuller but note the fie percussion work from Royston (pictured left).  Ms. Tarantino's "Breeze" (which she also plays on her debut) has a bluesy feel, especially in the loping rhythms and opens to feature solos from the composer, Finzer, and the pianist.  The fine mid-tempo ballad "Shift" serves as a spotlight for its composer, tenor saxophonist Dillon. The excellent rhythm section work is such a pleasure to hear as is Hirahara's expansive yet short solo. "Why Aren't You Excited", from the trombonist, is actually more introspective than one might expect from the title. Fine work all around from the band and the soloists.

"Maximum Enjoyment" reveals the fine talent that Posi-Tone Records and producer Marc Free has been able to cultivate over the past decade (Rudy Royston and Boris Kozlov appear on large number of the label's releases not to forget the composers whose work is recorded here). Something Blue certainly refers to the many times Blue Note Records made Lps featuring their sterling lineup of artists in the late 1950s and throughout the 60s.  Smart concept and good exposure for both the artists and the label - give it a whirl.

Here's one of the two Behn Gillece pieces:

The day after Alexa Tarantino recorded her debut, she went into Brooklyn NY's Acoustic Recording studio with a sextet created by guitarist Amanda Monaco.  Lioness came together during a monthly concert series in Flushing NY that the guitarist curates. Producer Marc Free suggested she put together a group of women musicians, baritone player Lauren Sevian suggested the name, and the sextet was formed.  Featuring the three instrumentalists mentioned above, tenor saxophonist Jenny Hill, organist Akiko Tsuruga, and drummer Allison Miller fill out the group. Note the absence of a bassist - Ms. Tsuruga, who has previously recorded with drummer Jeff Hamilton and worked alongside Lou Donaldson plus saxophonist Ralph LaLama and trumpeter Joe Magnarelli, is a classic Hammond B-3 player, meaning that her feet supply the solid foundation.

Photo: Enid Hill

All six members contributed songs to their debut "Pride and Joy" released in March on Posi-Tone Records. The rhythm section - guitar, organ, and drums - gives the music a different and, to these ears , quite inviting, feel.  On pieces such as Carla Bley's classic "Ida Lupino", their work allows the alto of Ms. Taratino to solo freely. Really, it's Allison Miller's funky, danceable, "Mad Time" that opens the album and sets the mood. Then there's the Caribbean feel that permeates Ms. Hill's "Sunny Day Pal" - note the delightful bounce under the guitar solo and the New Orleans drumming under the three saxes as they restate the theme.

Add caption

Ms. Monaco takes centerstage as the reed players sit out on the sweet reading of the late Emily Remler's "Mocha Spice."  The gentle drumming of Ms. Miller and supportive organ work makes this piece a highlight.  There's a short and highly funk reading of Aretha's "Think", hearken back to the days of Booker T. & The MGs and The Bar-Kays.  Ms. Tsuruga's aptly titled "Funky Girl" provides a bluesy finish to the album plus a number of delightful low notes for Ms. Sevian. She also gets the first solo and sets the stage for Ms. Tarantino and Ms. Hill to dig in. The guitarist and the composer both get the spots and make the most of it.

"Pride and Joy" is suffused with excellent musicianship and is a whole lot of fun, especially if you play the album at higher volume.  Not sure if Lioness will stay together in its present form as its members are so busy as leaders and side persons.  Nevertheless, this is a delightful recording.

Go to www.facebook.com/pg/lionesswomeninjazz/posts/ for more information.

Here's the first cut - try not to dance, I dare you!

Photo: Michelle Grace Hunder

Alto saxophonist, educator, and composer Angela Davis came to the United States from her native Australia a decade ago to study.  She stayed for six years, recording and self-releasing both her debut album "The Art of the Melody" and its followup, "Lady Luck." Both albums featured her quartet (with bassist and fellow Australian Linda May Han Oh); the second one also included a string section arranged by pianist Dan Tepfer.

She moved home a few years ago and is now a Lecturer of Jazz at the James Morrison Academy of Music at Univ. of SA. And, Ms. Davis now has a new album.  "Little Did They Know" (ABC Music).  Featuring pianist Tony Gould and bassist Sam Anning, the eight-song program features four originals and a song each from Charlie Haden, Bill Frisell, Sammy Fain, and George Frederic Handel.  The song choices lean more to ballads - even Fain's "Love is a Many Splendored Thing" (from the 1955 movie of the sane name) starts with Gould playing a lovely unaccompanied reading with variations of the theme.  When Ms. Davis and Anning enter, the pace picks right up and the music takes on a light-hearted feeling highly by the sweet sounds of the alto sax (one can hear a bit of Paul Desmond in the leader's tones). Ms. Davis's "Circuit for Three" is more up-tempo - the excellent melodic line is followed by strong solos from Gould and Anning.

Photo: Hayley Miro

Haden's "Our Spanish Love Song", which the late bassist composed for his duo recording with Pat Metheny, has a handsome memory inferred by the composer's love of Iberian music.  The sympathetic nature of the trio's interactions really make this song move forward while pulling you into the emotional power of the melody.  Later in the program, Ms. Davis's "Hymn for Haden" celebrates the person and his love for traditional music.  Anning's simple yet powerful counterpoint to Gould's sparkling solo is a highlight of this track and actually occurs throughout.  Ms. Davis's "The Light Between Us" also feels like a hymn with its classic melody line, the soft chords, and the sweet singing alto sax sound.

Photo: Hayley Miro

"Little Did They Know" is a melodic gem, music to start the day (if the windows are open in Spring and Summer, the songs of the birds often fit in) and to close the evening.  It's fitting that the program closes with Handel's aria "Lascio Ch'io Pianga"; the quiet melody, the short saxophone solo that takes its lead from the many singers who have performed the piece, and the gentle piano accompaniment, all combine to bring hope in a new day.  Angela Davis lives, breathes, and cherishes melody; the listener is the beneficiary of her love.

For more information, go to angeladavismusic.com.

Here's the Charlie Haden song: