JAM Magazine: August/September 1995 Issue: For the Record

Ahmad Alaadeen & The Deans Of Swing
"Plays Blues For RC & Josephine Too"
ASR Records CD 1001

Personnel: Ahmad Alaadeen, tenor & soprano saxophones; Danny Campbell, trumpet; Tim Perryman, trombone; Reggie Thomas, piano & organ; Willie Matthews, guitar; Tyrone Clark, bass; Donivan Bailey, drums

Tracks: Blues For RC; Josephine; Someone To Watch Over Me; Wayne Himself; Big Six; Facade; Requiem For Gerald; Big 'Un.

Recorded at The Mint Recording Studio, Kansas City, MO

With Plays Blues For RC & Josephine Too, Ahmad Alaadeen, one of Kansas City's favorite jazzmen, has once again proven why he is a master of the saxophone. Having honed his skills with such greats as Billie Holiday, Miles Davis, Ella Fitzgerald, and the Duke Ellington Orchestra, Alaadeen captures the allure of traditional jazz on everything from the languid "Someone to Watch Over Me" to the bluesy "Big Six," .

Backed by Danny Campbell on trumpet, Tim Perryman on trombone and the venerable "Deans of Swing" (Willie Matthews on guitar, Reggie Thomas on piano and organ, Tyrone Clark on bass and Donivan Bailey on drums), Alaadeen has surrounded himself with a first-rate sound. The grooves are superb as is the choice of material. Most tracks are originals written by Alaadeen and company; Willie Matthews checks in with some outstanding guitar work on his "Facade," keyboardist Reggie Thomas' piano skills are showcased on his "Requiem for Gerald," and Alaadeen's soulful sax is a highlight throughout. The title tracks "Blues for RC," "Josephine" and the final cut, "Big 'Un" stand as fine examples of jazz at its timeless best.

This is what jazz was, and still is all about.

-- Vanessa Barnard

Jim Mair
HIP SOUL!
JMP 201

Personnel: Jim Mair, soprano, alto, tenor saxophone; Ron Paley, piano; Ron Halldorson, bass; Rob Siwik, drums; Glen Matthews, congas.

Tracks: Misty, Snap Two, Danny Boy, At The Hook, Five O'clock Jump, Confirmation, High Five, Save That Time, Hip Soul.

Recorded December 3, 1994, Channels, Winnipeg, Manitoba.

If you've been around the jazz block in Kansas City for any length of time, you know that this town has some very fine players. The wealth of talent is evidenced over and over again as KC jazz fans are afforded the opportunity to experience the best that jazz has to offer through our many schooled and gifted artists. There is also a collaborative musical consciousness here that exists between musician and audience. It's a special musical attitude that focuses on a shared experience. A symbiotic relationship between artist and listener.

One musician in particular who epitomizes this experience is saxophonist Jim Mair, a local favorite who brings the same energy to a recorded performance as he does a live gig. On Hip Soul, his latest release, Mair takes the listener to the level of a live performance and then some.

Check out his rendition of Errol Garner's "Misty" and how he lets the piano take the lead while waiting patiently to add his voice to this dancin' arrangement. Mair demonstrates intelligent musicianship by balancing his contribution to the song without ever saying more than what needs to be said. His focus is on the ensemble and how the group as a whole is interpreting the tune.

Mair's "At The Hook," enjoys a Latin lift balanced by a lyrical lilt as clean as Canadian water. And his "Five 0'Clock Jump" will remind listeners of five good years at the Phoenix Piano Bar & Grill at 8th and Central. It's an up-tempo, mainstream standard that says "let's get the party started!"

Hip Soul benefits greatly from the inclusion of four original compositions, two of which were written by Kim Park and Russ Long, a pair of Kansas City's most respected jazz players/composers. Mair takes Park's "Snap Two" and delivers the kind of punchy, syncopated, straight ahead rendition that seems to say "Kim, I know just what you're talkin' about!" And the group's version of "Save That Time" supplies the warmth and reassurance Russ Long has been bringing to the KC jazz scene for years.

Other highlights are Charlie Parker's classic "Confirmation" in which Mair confirms his ability to negotiate rigorous be-bop changes, and "High Five," a well crafted take off on the Paul Desmond evergreen that showcases the lyrical "dry martini" sound of Mair's soprano.
Overall, Hip Soul is a collection of tunes that sounds and feels good. There really isn't a single weakness to this session other than the fact I wanted more.

As most of you know by now, Jim Mair has recently moved to Idaho to join the music faculty at the College of Southern Idaho/Twin Falls. He will be missed by the KC jazz community. But he takes with him the sound and the spirit that best represents Kansas City Jazz.

We wish him well and hope he'll strut back to KC soon.

-- J.P. Makus

RETURN TO AUGUST/SEPTEMBER 1995 MAIN INDEX

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© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		Ahmad Alaadeen & The Deans Of Swing "Plays Blues For RC & Josephine Too" ASR Records CD 1001 Personnel: Ahmad Alaadeen, tenor & soprano saxophones; Danny Campbell, trumpet; Tim Perryman, trombone; Reggie Thomas, piano & organ; Willie Matthews, guitar; Tyrone Clark, bass; Donivan Bailey, drums Tracks: Blues For RC; Josephine; Someone To Watch Over Me; Wayne Himself; Big Six; Facade; Requiem For Gerald; Big 'Un. Recorded at The Mint Recording Studio, Kansas City, MO With Plays Blues For RC & Josephine Too, Ahmad Alaadeen, one of Kansas City's favorite jazzmen, has once again proven why he is a master of the saxophone. Having honed his skills with such greats as Billie Holiday, Miles Davis, Ella Fitzgerald, and the Duke Ellington Orchestra, Alaadeen captures the allure of traditional jazz on everything from the languid "Someone to Watch Over Me" to the bluesy "Big Six," . Backed by Danny Campbell on trumpet, Tim Perryman on trombone and the venerable "Deans of Swing" (Willie Matthews on guitar, Reggie Thomas on piano and organ, Tyrone Clark on bass and Donivan Bailey on drums), Alaadeen has surrounded himself with a first-rate sound. The grooves are superb as is the choice of material. Most tracks are originals written by Alaadeen and company; Willie Matthews checks in with some outstanding guitar work on his "Facade," keyboardist Reggie Thomas' piano skills are showcased on his "Requiem for Gerald," and Alaadeen's soulful sax is a highlight throughout. The title tracks "Blues for RC," "Josephine" and the final cut, "Big 'Un" stand as fine examples of jazz at its timeless best. This is what jazz was, and still is all about. -- Vanessa Barnard Jim Mair HIP SOUL! JMP 201 Personnel: Jim Mair, soprano, alto, tenor saxophone; Ron Paley, piano; Ron Halldorson, bass; Rob Siwik, drums; Glen Matthews, congas. Tracks: Misty, Snap Two, Danny Boy, At The Hook, Five O'clock Jump, Confirmation, High Five, Save That Time, Hip Soul. Recorded December 3, 1994, Channels, Winnipeg, Manitoba. If you've been around the jazz block in Kansas City for any length of time, you know that this town has some very fine players. The wealth of talent is evidenced over and over again as KC jazz fans are afforded the opportunity to experience the best that jazz has to offer through our many schooled and gifted artists. There is also a collaborative musical consciousness here that exists between musician and audience. It's a special musical attitude that focuses on a shared experience. A symbiotic relationship between artist and listener. One musician in particular who epitomizes this experience is saxophonist Jim Mair, a local favorite who brings the same energy to a recorded performance as he does a live gig. On Hip Soul, his latest release, Mair takes the listener to the level of a live performance and then some. Check out his rendition of Errol Garner's "Misty" and how he lets the piano take the lead while waiting patiently to add his voice to this dancin' arrangement. Mair demonstrates intelligent musicianship by balancing his contribution to the song without ever saying more than what needs to be said. His focus is on the ensemble and how the group as a whole is interpreting the tune. Mair's "At The Hook," enjoys a Latin lift balanced by a lyrical lilt as clean as Canadian water. And his "Five 0'Clock Jump" will remind listeners of five good years at the Phoenix Piano Bar & Grill at 8th and Central. It's an up-tempo, mainstream standard that says "let's get the party started!" Hip Soul benefits greatly from the inclusion of four original compositions, two of which were written by Kim Park and Russ Long, a pair of Kansas City's most respected jazz players/composers. Mair takes Park's "Snap Two" and delivers the kind of punchy, syncopated, straight ahead rendition that seems to say "Kim, I know just what you're talkin' about!" And the group's version of "Save That Time" supplies the warmth and reassurance Russ Long has been bringing to the KC jazz scene for years. Other highlights are Charlie Parker's classic "Confirmation" in which Mair confirms his ability to negotiate rigorous be-bop changes, and "High Five," a well crafted take off on the Paul Desmond evergreen that showcases the lyrical "dry martini" sound of Mair's soprano. Overall, Hip Soul is a collection of tunes that sounds and feels good. There really isn't a single weakness to this session other than the fact I wanted more. As most of you know by now, Jim Mair has recently moved to Idaho to join the music faculty at the College of Southern Idaho/Twin Falls. He will be missed by the KC jazz community. But he takes with him the sound and the spirit that best represents Kansas City Jazz. We wish him well and hope he'll strut back to KC soon. -- J.P. Makus RETURN TO AUGUST/SEPTEMBER 1995 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.