Such Sweet Music

For me, any recording with a cover drawn by Bill Griffith ("Zippy The Pinhead") has started off on the right foot.  It's also new music from the fine clarinetist and occasional tenor saxophonist Ken Peplowski and "In Search Of..." (Capri Records) - what's not to like.  9 of the 12 tracks feature the wonderful accompaniment of pianist Shelly Berg, bassist Tom Kennedy and drummer Jeff Hamilton - recorded in February 2010, the program is a blend of originals and fascinating covers.  For instance, the CD opens with  "The Thespian", a piece by pianist Freddie Redd (best known for "The Connection."). The tune starts slowly, Peplowski on tenor lovingly caressing the melody. About 2 minutes in, the quartet doubles the tempo and the piece sets off on a lively romp (the arrangement is quite similar to Redd's original._   "A Ship Without  A Sail" is a Richard Rodgers/Lorenz Hart work from the 1929 musical "Heads Up!" - it's a lovely ballad with a sweet clarinet solo over the terrific brush work of Hamilton as well as a lovely piano solo.  Another fine ballad is "When Joanna Loved Me."  Composed by the team of Jack Segal and lyricist Robert Wells, Peplowski based his version on a live rendition by Frank Sinatra.  Here, the leader plays tenor saxophone in a breathy but clear tone, never rushing through the melody, using longer tones, and one hears hints of Lester Young in the solo. Pianist Berg contributes 2 pieces, the lovely "In Flower" (an homage to Billy Strayhorn) and the lively "Peps", the latter a romp for the entire band.

The final 3 cuts come from an April 2007 session, the results of which have never been released. "No Regrets" is a lively tenor/bass duo featuring Greg Cohen. There is a surprising and respectful reading of George Harrison's "Within You and Without You", with Peplowski's clarinet subbing for the sitar plus fine percussion from Joe Ascione, atmospheric vibraphone from Chuck Redd and strong bass support and response from Cohen.  The CD closes with a lively New Orleans-influenced reading of "Rum and Coca Cola" performed by Ascione (drums) and the leader on the spicy clarinet.

If you are "In Search Of.." a fine musical experience, Ken Peplowski's latest CD is a treat.  Even without the Griffin artwork, this CD is worth finding. To learn more about the leader. go to www.kenpeplowski.com - for ordering purposes, go to www.caprirecords.com. 

Israeli-born pianist/composer Alon Nechustan has been in the United States since the turn of the 21st Century. He studied at the New England Conservatory of Music, working with Bob Brookmeyer, Danilo Perez, Ran Blake and others.  Since moving to the New York City area, he has performed with a slew of musicians ranging from bassist William Parker to klezmer violinist Alicia Svigals to trumpeter Frank London.  He formed the "new" klezmer/jazz quintet Talat, releasing a CD in 2006 for John Zorn's Tzadik label.  Ayler Records released a live recording from a 2004 date in Boston featuring bassist John Lockwood and drummer Bob Gullotti (both members of the fine trio known as The Fringe.)

"Words Beyond" (Buckyball Records) is his latest recording and finds the pianist having a splendid time playing his original material with bassist Francois Moutin and drummer Dan Weiss.  It's not hyperbole to call the results a tour-de-force. From the two-handed romp "Muppet Shock" that opens the program to the hard-driving "The Traveller" (with the influence of Bud Powell evident in the melody) that closes the show, the listener often to needs to fasten his or her seatbelt. The material sounds "lived-in" and not "worn-out" - there is the joyous "Spinning The Clouds" that comes in on a Crescent City/Professor Longhair groove (kudos to Moutin's sprightly bass work and Weiss's "slippery" drums) then takes a "reflective" turn before a middle section in which the pianist's spars with his rhythm section.  One can hear traces of Thelonious Monk, Billy Strayhorn and Chick Corea in the theme of "Dr. Masterplan", the piano line moving upwards throughout the theme section. 

There's plenty to absorb in this music.  The groove-based opening of "Entranced" that quickly and seamlessly moves into a modified Brazilian rhythm - Weiss's work is so much fun to check out here, from fine cymbal playing to the short "parade" drum outburst to his accenting the pianist's lines during part of the solo.  "Heartbreakthrough" is a pretty ballad with a lively melodic bass solo, fine brush and stick work from Weiss and a piano solo that moves through several moods with ease, ending with harp-like flourishes. 

Listen to how the rhythm section interacts with Nechustan throughout the program. They are partners, not just sideman, in this creation.  The pianist/composer creates musical situations that allows to both Moutin and Weiss to play with creativity and intelligence; the quality of their endeavors makes this recording the unqualified success it is. Moutin's bass lines can be as rapid and booming as those of Stanley Clarke yet he rarely overplays.

To paraphrase a 1950's TV show opening, "there seem to be 8,000,000 piano trio recordings available these days" but few with the energy and vision that inhabits Alon Nechustan's "Words Beyond" - (only David Cook's fine BJU recording "Pathways" comes to mind.)  To find out more, go to www.musicalon.com or www.buckyballmusic.com.

Download and listen to "Dr. Masterplan", courtesy of Buckyball Music, by clicking here.

Marcus Shelby Marches On

One of my favorite recordings of this year is "Soul of The Movement: Meditations on Dr. Martin Luther King, Jr." by the Marcus Shelby Orchestra (Porto Franco Records).  With the 43rd anniversary of Dr. King's assassination being commemorated on Monday April 4, the label has released several videos of the MSO in action.  Here's one! To view them all, go to www.marcusshelby.com/video.htm.

Powerful Sounds

Captain Black Big Band (Posi-Tone Records) - Positive comments have been swirling for several years about this large aggregation.  Founded and led by pianist/composer Orrin Evans (and named for one of his pieces, which itself was named for his father's favorite pipe tobacco), the CBBB features musicians of all ages, many based in the Philadelphia, PA, area.  And, it's a "workshop" band in that everyone can bring in pieces and/or arrangements.

The music on the band's debut CD, recorded live on 3 separate evenings (1 in Philly at Chris' Jazz Cafe, 2 in New York City at the Jazz Gallery), is, at turns, raucous, provocative, attractive, shiny and without a dull moment.  The program blasts off right out of the chute with "The Art of War", a  piece by Evans' long-time employer, drummer Ralph Peterson. Powered by drummer Anwar Marshall and anchored by bassist Mike Boone, the piece features a incendiary solo from alto saxophonist Rob Landham atop a thunderous arrangement by Todd Bashore.  Gianluca Renzi's "Here's The Captain" opesn with an impressionistic solo piano spot from Evans before moving into a medium tempo modal work. te composer, who also arranged the work, moves the theme around the brass section. Second time through, the reeds get the opening phrase before the brass take the melody once more.  Tenor saxophonist Victor North delivers a robust solo before Evans takes the spotlight for a swinging, riveting, spot.

Other highlights include "Captain Black" with finely textured solo from pianist Jim Holton and a boisterous "shoutout" by trombonist Stafford Hunter. Between those two solos, tenor saxophonist Ralph Bowen goes on an engrossing journey filled with twists, turns, questions and resolution.  "Easy Now", also composed by Evans, starts off in stentorian fashion with the reeds and brass making a bold statement above the thunderous drum work of Gene Jackson.  Todd Marcus's arrangement moves the melody into a gospel feel - there is a fine measured solo from trumpeter Tatum Greenblatt followed by a more aggressive turn from baritone saxophonist Mark Allen. When the horns and reeds return at the climax of Allen's solo, one feels the temperature rise dramatically.  The CD closes with "Jena 6", Evans' piece dedicated to the 6 black teenagers from Louisiana convicted of beating a white teen after a series of racially inspired incidents in the town of Jena.  Originally recorded as a trio piece with Tarbaby, the leader's multi-sectioned work has an ominous tone, from pianist Neil Podgurski's unaccompanied opening to the melody line (that has shades of Charles Mingus throughout) to Jaleel Shaw's long and impassioned alto saxophone solo, delivered over shifting tempos created by drummer Donald Edwards and bassist Luques Curtis. There are moments during Shaw's journey where the squalling brass and thunderous drums express anger and rage - Shaw's unaccompanied cadenza that ends the piece is intense, indignant and without remorse. 

In the past several years, there have been a number of excellent large ensemble recordings, from Darcy James Argue's Secret Society to trombonist Alan Ferber's Nonet with strings to John Hollenbeck's 2 fine recordings to Charles Tolliver hearty organization (and more).  Orrin Evans and Captain Black Big Band's debut is the equal to all those, a powerful statement that brings together musicians, composers and arrangers of all ages to create music that rails against injustice, teaches us about cooperation and allows each one to raise his or her own voice above the "white noise" of daily existence.

For more information, go to www.posi-tone.com.

Mr. Pelt's Trumpet Sounds the Charge +The Music Friends Make

There are those jazz fans for whom the the mid-to-late 1960s was the period for jazz.  Blue Note Records was nearing the end of a decade when the label dominated the jazz market, Miles Davis and his Quintet were forging new paths for group interaction, John Coltrane was on a music and spiritual quest (cut short by his premature death in 1967) and "free jazz" was just beginning to make waves.

On Friday April 1, the Jeremy Pelt Quintet comes to Firehouse 12, 45 Crown Street in New Haven playing music that raises the spectre of the period described above and gives it new life. Trumpeter Pelt, a veteran of the "jazz wars" at the age of 35, moved to New York City in 1998 and has been a busy musician ever since.  Besides leading his own bands, he has worked and recorded with the Roy Hargrove Big Band and The Village Vanguard Orchestra as well as drummer Ralph Peterson's ensembles and the Cannonball Adderley Legacy Band.  He brings a well-seasoned band including Dwayne Burno (bass), Gerald Cleaver (drums), J.D. Allen (tenor saxophone) and Danny Grissett (piano), all leaders in their own right.  And, it's an ensemble that has recorded 3 Cds in the past 3 years as well as touring throughout the US and across Europe.  The Quintet's latest release, "The Talented Mr. Pelt" (High Note), came out earlier this year and is filled with mature tunes, inventive interplay, and strong solos.  You should expect more of the same when the band plays live (chances are very good they'll "kick it up a notch or 2" in person.)  For ticket information, go to www.firehouse12.com.  To learn more about Jeremy Pelt, go to http://jeremypelt.net. 

Here's a piece by the Quintet from its first CD, "November", issued by MAXJAZZ and courtesy of IODA PROMONET.
Avatar (mp3)

There's something about a trio of saxophone, bass and drums that can be so entertaining.  Whether it's Sonny Rollins with Max Roach and Oscar Pettiford creating "The Freedom Suite" or his joyous "Way Out West" (with Shelly Manne and Ray Brown) or the wonder-filled interactions of Henry Threadgill, Fred Hopkins and Steve McCall in (Trio) Air, there's so much one can do, especially if the musicians trust each other.

The Honey Air Trio - Erik Lawrence (saxophones), Rene Hart (bass, electronics) and Alison Miller (drums, percussion) - have worked together in ensembles led by trumpeter Steven Bernstein, composer/multi-instrumentalist David Amram, keyboard whiz John Medeski and the poet Robert Pinsky. Separately, Lawrence has worked with Allen Touissaint and Levon Helm, Hart with Branford Marsalis and Don Braden, and Miller most notably with singers Ani DiFranco and Brandi Carlisle as well as saxophonist Marty Ehrlich.  Thanks to a traumatic environmental event (the 2010 volcano eruption in Iceland), the 3 musicians found themselves with some free time so they decided to work - together. 

The results of their labors can be heard on the group's debut CD, "Steampunk Serenade" (Foxhaven Records). There's much to savor in this program, from Hart's melodic bass work to Ms. Miller's intelligent drumming to Lawrence's dexterity and prowess on the 4 reeds in his arsenal (tenor, baritone, alto and soprano saxophones.)  Pieces like "High Water" and "Over The Rainbow" display how well the 3 musicians understand how silence can help heighten tension, can keep the listener involved, and how solos built off the melody can be so effective.  The band also has a playful side - the use of electronics behind the hip-hop rhythms on the title track is quite appealing while the sax and drums dance titled "Beautiful Nightmare" has such fine interactions (Ms. Miller's "sound palette is quite impressive, especially the cowbell.)  You could have a field day listing all the different styles of music referenced on the track. The incident that brought them together is celebrated on "Eyjafjallajokull (Icelandic Volcano Hymn)." Miller's subtle drums work beneath the folk music-like melody played by Lawrence and the rich tones of the bass makes this an arresting work. Lawrence's breathy and expressive baritone sax toys with the melody on "Collide-O-Scope", a work filled with more rich bass lines (plenty of chords as well) and subtle percussion (there's also electronic sound alteration going on as well.)

The spirit of Air permeates tracks such as "Whistle Stop" (one hears it in the way the melody line works against the rhythms) and "Olney 60/30"  (Lawrence's expressive tenor pushing back against the rhythmic tidal wave of percussion and bass.) And they can swing too - "Six Nettes", from the pen of Lisa Parrott, is a bluesy romp that switches gears at will thanks to the active drums and handsome walking bass lines. 

"Steampunk Serenade" is music for those listeners who like to be challenged as they are entertained. On initial listens, one might not be sure where the Trio is going at times but there is no doubt that they are having fun. This music is often quiet but in a way that is seductive, aurally provocative and ultimately satisfying.  Kudos to the sound engineers, mixer and the person who mastered the sessions because the CD feels "alive"  (Ms. Miller's drums feels as if her kit is in the room where one is listening.) To find out more and hear them play, go to www.honeyeartrio.com.

Bands Big and Small

40 Acres and a Burro - Arturo O'Farrill & The Afro Latin Jazz Orchestra (ZOHO) -Composer/arranger/pianist O'Farrill leads this 18-piece aggregation (plus guests) through a program that is a delight from start to finish. With several new works by the leader and a fascinating potpourri of pieces by composers young and old, this CD covers quite an aural landscape.  Here, Latin Music includes Peruvian Gabriel Alegria's elegant "El Sur", complete with acoustic guitar, cajon, a sweeping arrangement and the crackling trumpet of Jim Seeley.  One hears the Celtic classic "She Moves Through The Fair", with the plaintive violin of Heather Martin Bixler leading the way through her husband David's multi-layered arrangement.  Dizzy Gillespie's "A Night in Tunisia" sounds fresh and bright, the classic melody clothed in a shimmering arrangement courtesy of Michael Philip Mossman.  Solos by John Walsh (trumpet), Earl McIntyre (trombone) and David De Jesus (soprano saxophone) raise the temperature even higher.  Paquito D'Rivera makes several appearances on clarinet, both on pieces by Brazilian composers.  He and ALJO baritone saxophonist Jason Marshall trade phrases on Hermeto Pascoal's playful "Bebê" - take time to savor the graceful and exquisite arrangement by Jovino Santos Neto. D'Rivera's clarinet is playful and sensuous on Pixinguinha's "Um a Zero", the classic choro from the 1940s. Here, Nailor "Proveta" Azevedo's arrangement mixes classic big band sounds with a touch of samba and bebop - it's hard to sit still as the piece rushes then tip-toes forward. 

O'Farrill contributes 3 of the 11 pieces, including "A Wise Latina", a multi-sectioned tribute to Supreme Court Justice Sonia Sotomayor. French horns add a touch of pomp to the splendid brass arrangement. Add in the reeds and the piece has such an expansive feel.  As trumpeter Seeley flies over the high-powered rhythms created by the 3-member percussion section and the shimmering horns and reeds, the piece races to the finish line.  "Ruminaciones Sobre Cuba" packs a lot of the history of Cuban jazz into 4'55", from a powerful piano opening to Adam O'Farrill's (the 3rd generation) expressive declaratory trumpet work to Bobby Porcelli's alto sax and Reynaldo Jorge's trombone soaring over the fiery work of the rhythm section.  The title track closes the program;  here, the composer not only pokes fun at American perceptions of Latinos but also creates a multi-sectioned work that jumps out of the speakers. O'Farrill's piano solo is a highlight, building off the powerful rhythms created by his left hand.

There's so much good music on "40 Acres and a Burro", a rambunctious yet respectful program filled with sly humor, excellent arrangements, spirited solos and attractive melodies that make you want to sing along.  No longer part of the Lincoln Center arts conglomerate, the Afro Latin Jazz Orchestra, judging by the quality and scope of this CD, is alive and well in the 21st Century.   For more information, go to www.afrolatinjazz.org/.

Slipstream - Noah Haidu (Posi-Tone Records) -The Los Angeles, CA-based Posi-Tone keeps finding new artists deserving of our attention.  Haidu, a Virginia native and graduate of Rutgers University, is no exception.  His debut session as a leader features the fine front line of Jeremy Pelt (trumpet) and Jon Irabagon (alto sax) with the solid rhythm section of Chris Haney (acoustic bass) and drummers John Davis or Willie Jones III (on 3 tracks).

The blend of Pelt and Irabagon, 2 players who know the history of their respective instruments vis a vis jazz, makes for intriguing music.  The opening track, "Soulstep", has the feel of early 1960s Horace Silver with its funky rhythms and "sweet" solos. "Where We Are Right Now" moves in similar fashion but the piece feels somewhat more exploratory - one hears the change in the shifting tempi (kudos to John Davis for really pushing the band.)  The pianist really dances over the active rhythm section, spurring on the bassist and drummer to a higher intensity.  Irabagon, who's best known for his work in Mostly Other People Do the Killing as well as being the winner of the 2009 Thelonious Monk Competition, sinks his teeth into a passionate solo.  Pelt, who has developed into a masterful player, takes a lovely solo on "Take Your Time", a ballad on which Haidu's solo builds quietly but firmly into a soulful expression. Pelt's bluesy solo on "The Trouble Makers" gives the piece a Jazz Messengers feel, a la the ensemble featuring Lee Morgan and Wayne Shorter. "Break Tune" blends the influences of Monk, Herbie Hancock and Geri Allen into a most funky concoction, the trumpet and saxophone trading phrases over Davis's "fatback" drumming.
The program also includes several trio tracks (sans sax and trumpet) - there is the fast-paced romp through Cole Porter's "Just One Of Those Things" and a sweet ballad titled "Float."  On the latter track, bassist Haney supplies fine counterpoint to the pianist's thoughtful solo work.  That's one of Haidu's strength in that he does not try to blow the listener away with prodigious technique - his solos unwind gradually, growing out from the melody or harmonic patterns.

"Slipstream" won't blow you away with fiery solos or breath-taking rhythms but impresses with its subtle variations on classic sounds, the short but pithy solos and the classy rhythm section work.  Noah Haidu can certainly play and, in his quickly maturing compositional style, he creates pleasing musical playgrounds for his band.  For more information, go to www.noahhaidu.com.

Here's the opening track of the CD, courtesy of Posi-Tone Records and IODA Promonet:
Soulstep (mp3)

The Tenor Man Cometh + Quiet Music with Power

Firehouse 12, 45 Crown Street in New Haven, had a triumphant beginning to its Spring '11 season last week (3/18) with the Adam Rogers Trio. First set was sold out while the second was, at least, 3/4 full.  (Read what Chuck Obuchowski had to say about the show - click here.)

This week (3/25), the recording studio-turned-performance space welcomes the Donny McCaslin Quartet for 2 sets, 8:30 and 10 p.m.  The tenor saxophonist, best known for his work with both the Maria Schneider Orchestra and the Dave Douglas Quintet, is one of the busiest musicians in the business.  Not only does he have steady work as a sideman (he last appeared at the Firehouse during the Fall 2010 season as part of guitarist Joel Harrison's Ensemble) but he leads his own group.  Joining him will be Uri Caine (piano, keyboards), Scott Colley (bassist) and the fine young drummer Johnathan Blake.  They'll be playing music from McCaslin's fine new CD, "Perpetual Motion" (Greenleaf Music), a cauldron of burning improvisations and exciting interplay.  McCaslin is one of the more muscular tenor plays on the scene yet also knows how to play ballads with sensitivity and intelligence. And the band he has assembled is absolutely top-notch. To learn more about the man and his music, go to www.donnymccaslin.com.

For ticket information and more, call 203-785-0468 or go to www.firehouse12.com. 

David Lopato is a pianist, composer, educator, author, playwright and more.  "Many Moons" (Global Coolant) is his second solo piano recording and, over the course of 65 minutes, covers a lot of territory.  And Lopato does so in a most entertaining fashion. For example, there's the "boogie-woogie" and "groove-funk" of "Swing Trades", the short bluegrass treat "Fly Brook", the rolling rhythms of "African Village" (with a nod to Abdullah Ibrahim), the experimental mode of "Piano Roll 1" (dedicated to 2 unique 20th Century composers, Conlon Noncarrow and John Cage) and the gospel/Americana of "Peace March" (from a longer work titled "Suite 9/11.") What's best about this music is that it is not self-conscious or reverential.  It is a group of aural stories that neither overstay their welcome nor feel incomplete.  There is humor, passion, love, sorrow and whole lot of music.  Lopato references the history of jazz piano without  being obvious or resorting to cliches.  In a year that has already seen excellent solo piano releases from Brad Mehldau and Fred Hersch, go find "Many Moons" - it's well worth your time.  For more information, go to www.davidlopato.com.

There is also beauty, grace and dignity as well as a dose of levity in the grooves of "Across the Way" (Songlines), the new CD from guitarist Brad Shepik.  This set of 11 original compositions features the fine talents of Tom Beckham (vibraphone), Jorge Roeder (acoustic bass) and Mark Guiliana (drums).  These musical observations display different influences, from the Radiohead feel of the title track to the Gary Burton Quartet sound of tracks like "German Taco" and "Your Eggroll."  Beckham has a soft, round, sound on vibraphone and his solos are impressive throughout.  He dances atop Guiliana's parade-style drums on "Xylo", creates a soft storm of sound on "Marburg" and lets loose for a romp on "Down the Hill."  Roeder's bass work is so supportive, creating a bottom that allows the other 3 to move without fear of getting lost.  His solos are quite melodic as well as rhythmic without going on too long.  Guiliana's work has a subtle power, never intrusive, with creative support on each track. His work beneath Shepik's hard-edged solo on "Transfer" is driving while his cymbal work throughout "Garden" creates delicate shades.
After you spend time listening to Shepik's fine solos (nary a weak one on this program), pay attention to his work in the background. The gentle chords behind Beckham on "Pfaffenhofen" ring with a clarity that captures a mood of longing while the over-dubbed finger-picking on "Train Home" (along with the electronic effects) may remind some of The Beatles' guitar work on "Tomorrow Never Knows" (only softer.)
"Across The Way" grows on you with each listen. Brad Shepik is neither a "shredder" nor a "wailer" and his music, while often quiet, is hardly New-Age.  The attractive blend of guitar and vibraphone is such a pleasurable aural experience and don't the excellent contributions of Roeder and Guiliana.  For more information, go to www.bradshepik.com. 

Give a listen to to "Your Egg Roll" courtesy of Songlines and IODA Promonet:
Your Egg Roll (mp3)

Masters At Work and Play

Reveille - Kermit Driscoll (19/8) - Bassist/composer Driscoll, mostly recovered from the Lyme Disease that laid him low several years ago, has finally issued his debut CD. This, from a musician who has worked with artists and ensembles as varied as John Zorn, David Johansen, John Hollenbeck, The New York Philharmonic and others.  Perhaps best known for his long association with guitarist Bill Frisell, Driscoll is rock-solid and wonderfully melodic, often creating a bottom on electric bass that seems expansive and full without being oppressive.

Here, he works with Frisell, drummer Vinnie Colaiuta and, on 5 of the 10 cuts, the keyboards of Kris Davis are added to present a program that eschews labels.  There's low-down funk on "Thank You" (with Frisell "shredding" like Nels Cline), the bouncy dance of "Chicken Reel" (displaying Drisoll's formidable "chops" and rich tone on upright bass), and the hard-edged jazz-fusion of Joe Zawinul's "Great Expectations."  Colaiuta, who powers the Jeff Beck Band, is an excellent foil for Driscoll's throbbing bass lines, driving certain pieces relentlessly (I detect a touch of Keith Moon in his enthusiastic playing.)  "Farm Life" moves slowly, somewhat gently atop the drummer's easy loping beat and Driscoll's hearty bass lines

Pianist Davis adds important colors to the pieces; her intertwining lines with Frisell on "Martin Sklar" (named for the contemporary American painter and printmaker from San Diego, California) give the piece its tension.  That similar push-and-pull appears at the opening of "Four Hearts" but the piece settles into a country-blues pace (even a bit slower on the handsome piano solo that is substantial as it rides atop the subtle interactions of the rhythm section.) Davis and Frisell open "Hekete" by weaving their lines around the bass and drums, slowly pushing the piece forward.  Her solo is understated, graceful yet rhythmic, hypnotic and subtly humorous (with nods to Monk and Bud Powell.)  When Frisell enters, he builds off the pianist's circular lines, following Driscoll's walking bass into a solo that struts and swings without heavy volume.  The guitarist is in the midst of a long and varied career but still has the capacity to surprise the listener with his inventiveness. On every track, Frisell stays away from the ordinary, from the cliche, to help create a diverse and entertaining musical canvas

Kermit Driscoll takes a solo now and then but really enjoys being part of the band; sometimes he goes with the flow, other times nudges the piece along with his uncomplicated yet powerful  and melodic bass lines.  This "Reveille" is more than a wake-up call to listeners about Driscoll.  It's a group effort that is filled with surprises and good music. 

The CD will be issued in April - to find out more about the bassist's long career, go to www.kermitdriscoll.com.

Convergence - Jerry Bergonzi (Savant) - This new release from the saxophone master was actually recorded around the time of his previous Savant CD, "Three for All."  Both recordings feature the same fine rhythm section, bassist Dave Santoro and drummer Andrea Michelutti.  The major difference between the 2 disks is the presence of pianist Bruce Barth on 3 of the 10 tracks.  Bergonzi, as on previous releases, overdubs soprano saxophone on several cuts to blend with his rich tenor sound. His progress on the higher-pitched reed is impressive, which one can delightfully hear on several excellent solos.

Bergonzi is one of those musicians who tends to be overlooked yet rarely plays a false note.  He has a great sense for swing, as he displays on the uptempo ballad (and the only standard on the program), the Gershwin Brother's "I've Got a Crush on You."  The way he builds his solo from the melody and chord structures will bring Sonny Rollins to mind. One hears that influence, and that of Thelonious Monk, on the faster-paced but not frenetic "Mr. Higgins."  Michelutti's drum work is notable in that he does not force the pace but knows when to stoke the intensity. His "parade drums" approach on "Seventh Ray" is inspired, really pushing the saxophonist to create the most interesting solos - the listener hears Bergonzi on both tenor and soprano and it's so good one forgets it's the same musician playing both solos. Throughout the program, Santoro's lines often serve as a counterpoint to the solos; the bassist does not settle for merely "walking" but keeps his phrases melodic and fluid.

Barth's presence alters but does not fundamentally change the dynamic of the group.  On the title track, his work is reminiscent of how McCoy Tyner worked alongside John Coltrane. The trajectory of his solo is fascinating, beginning with melodic phrases then twisting them to allow for chordal runs and single-note flights, all with different shades of the blues. His circular solo, phrases winding in and around themselves, is a highlight, setting the table for Bergonzi's inspired flight. 

"Convergence" is Jerry Bergonzi's 6th CD for Savant; like the others, this one is worth recommending.  The music goes in many directions but never loses its way, nor do the solos meander. One can happily listen to this recording many times and hear something new with each sitting.  For more information, go to www.jerrybergonzi.com.