JAM Magazine: December/January 1996 Issue: For the Record

Tom DeMasters
ON THE BRIGHT SIDE
Sarrita Records SZAM-1331

Personnel: Tom DeMasters, guitars, guitar synth, B-3 organ, vocals; Rick Huyett, Bob Blount, Joe Pruessner, bass; Andy Hambleton, Doug Auwarter, drums; Phil Brenner, sax; Pat Morrissey, trumpet & flugelhorn; Dave Coffin, sequenced keys & drums, rhythm guitar

Tracks: Why Oh Why, Duke's Jig, Woke Up To Bad News, Breeze, Blues Strut, Here With Me, Illusions, Rendevouz, Philadelphia, Blues For You, On The Bright Side, Midwestern

Recorded and mixed at Chapman Recording Studios, Kansas City, MO

On The Bright Side is a debut effort by Kansas City based, jazz-blues guitarist/vocalist Tom DeMasters. And it is an album that provides yet another look at the broad range of talent that can be found in the Kansas City area.

A former student of guitarist Steve Vai, as well as an alumnus of KC's Mama Ray/Rich Van Sant band, Tom DeMasters possesses a kick-back yet pulsating bluesy style tinged with a jazzy drive. The twelve original tracks on this CD offer a blues/jazz mosaic of vocal and instrumental performances. The improvisational work of trumpeter Pat Morrissey (of David Basse's City Light Orchestra) along with saxophonist Phil Brenner (who is also featured on Kevin Mahogany's, Songs And Moments) furnish supportive color as drummer Doug Auwarter (Sons of Brazil, Musa Nova), and bassists Bob Blount and Joe Pruessner add the pieces that shape and form the musical patterns of DeMasters' music.

After receiving a music degree from Wichita State University (where he studied with Jerry Hahn), DeMasters lived in Los Angeles, taught at East Los Angeles College, and performed at many area jazz clubs. Since his 1983 return to his hometown of Kansas City, Kansas, DeMasters has helped form the Duke Elephant Band, has worked with harmonica man Mo Paul, and has remained active in the clubs and at local festivals. Currently, DeMasters performs at the Levee every Thursday night and at Louisiana Jazz every Saturday. Hours for both are 9:00 p.m. to 1:00 a.m.

On The Bright Side is available on CD and cassette at Streetside Records, Penny Lane, Music Exchange, Barnes & Noble and The Best Of Kansas City.

-- J.P. Makus

Kevin Mahogany
YOU GOT WHAT IT TAKES
Enja 9039 2

Personnel: Kevin Mahogany, vocals; Benny Golson, tenor saxophone; James Williams, piano; Michael Formanek,bass; Victor Lewis, drums; Jeanie Bryson, vocal ("Baby You Got What It Takes")

Tracks: Baby You Got What It Takes, Stockholm Sweetnin', Just In Time, Sophiticated Lady, Route 66, Here's That Rainy Day, Yardbird Suite, My Funny Valentine, Old Times Sake, BG's Groove, God Bless The Child, Little Sherri, Please Send Me Someone To Love

Recorded March 19, 1995, at Systems Two, Brooklyn, NY

What a pleasure it has been to watch the ascension of Kansas City jazz singer Kevin Mahogany. After years of dues-paying in the clubs and jazz venues of KC, opportunity finally knocked in the form of a recording contract with the prestigious Enja Records, an opportunity that Kevin has taken full advantage of (witness the recent Down Beat Readers Poll in which the name Kevin Mahogany appears in second place right behind that of Joe Williams and ahead of Tony Bennett, Mel Torme' and Bobby McFerrin. Not bad company, that!).

You Got What It Takes is the third and most recent release from Kevin Mahogany on the Enja label. And if you enjoyed the first two (Double Rainbow, Songs & Moments), you will want to add this to your collection. From the start, You Got... is clearly a straight-ahead jazz date (literally; it was recorded in one afternoon) and the title tune, done as a duo with guest vocalist Jeanie Bryson, is about as "Kansas City" as it gets, what with the kind of down home shuffle groove Kevin no doubt grew up hearing, playing (on bari sax) and singing.

In addition to the aforementioned Ms. Bryson, Kevin has surrounded himself with world class musicians here. Benny Golson's tenor solos bring a seasoned elegance to the cuts on which he appears; pianist James Williams is his customary rock-solid self, as both inventive comper and animated soloist (his clever original "Old Times Sake" with lyrics by Pamela Watson is an album highlight); and bassist Michael Formanek is the perfect harmonic anchor and rhythm section soulmate for veteran drummer Victor Lewis (solos from each on Charlie Parker's "Yardbird Suite" perfectly illustrate their respective chops and musicality as individuals).

When all is said and done, however, it is the vocal stylings of Kevin Mahogany that provide the central focus of this album. From heartfelt ballads ("Sophisticated Lady," "My Funny Valentine") to uptempo burners ("Just In Time," "Yardbird Suite") to stops in between (a cool "Route 66," "Here's That Rainy Day" done as a jazz waltz, and "BG's Groove," a Mahogany original dedicated to Mr. Golson), it is clear that You Got What It Takes is a musical document from a jazz singer who will be around for a long time.

Kevin Mahogany: yet another Kansas City jazz alumnus of whom the town should be very proud.

-- Mike Metheny

Steve Million
MILLION TO ONE
Palmetto Records
PM 2014

Personnel: Steve Million, piano; Randy Brecker, trumpet & flugelhorn; Chris Potter, tenor & soprano saxophone; Michael Moore, bass; Ron Vincent, drums.

Tracks: Eisenbleu, Blue Lizard, I'm Gettin' Sentemental Over You, No Pork #44, Missing Page, Boo Boo's Birthday, Mood Point, When The Sun Comes Out, Duckbutter, Shadow Woman

Recorded Feb. 7-8, 1995, at Ambient Studio, Stamford, CT

Steve Million is a young pianist and composer/arranger whose star is ascending rapidly.

Jazz fans in and around Kansas City will remember Steve from the mid to late '80s as the regular pianist for singer Ida McBeth as well as for Stan Kessler and his "Flat Five." In 1986, Steve moved his family and career to Chicago where he still lives and works.

A fine measure of Million's abilities to date, both as performer and composer, is his first recording under his own name: Million To One on the Palmetto label (PM 2014). Six of the ten compositions on this 1995 CD are Steve's, and they are a strong indication that he is among the best of the new breed of jazz composers.

The album is a real tour de force for a fine band assembled by Steve in New York specifically for this project. Featuring a front line of Randy Brecker on trumpet and flugelhorn and Chris Potter on tenor and soprano sax, the band attracts immediate attention. But in spite of these two major horn headliners (who consistently play up a very predictable storm), it is the rhythm section that is the most noteworthy.

Joining Million is bassist Michael Moore, a major artist of long-standing reputation, and Ron Vincent, a drummer with strong Kansas City roots. This is perhaps the strongest outing for Vincent in recent memory; his playing is solid, strong and consistently creative. And Moore is a true joy throughout. His relaxed but insistent drive is as we have always known it to be, and he solos with the imagination and musicianship rarely heard by any bass soloist throughout the history of jazz.

The tunes chosen for this project cover a wonderfully wide range of styles and emotions. Sprinkled among the Million originals are Thelonious Monk's "Boo-Boo's Birthday," a re-working of the Dorsey theme "I'm Gettin' Sentimental Over You" (an arrangement with strong Monk ties), and the remarkable yet seldom heard Harold Arlen ballad "When The Sun Comes Out." Arthur Hamilton's "Shadow Woman" is given a fine strutting tango framework, and is one of the showcases for Moore's great bass work.

It is Million's compositions, however, that are the best of the bunch. He proves here that he is a writer of strong stature. His work has been described by Chicago Tribune music critic Howard Reich as "deeply idiosyncratic and original," and the six original tunes here give the listener constant joy. From the lovely ballad "Missing Page" to "Eisenbleu" which may be the album's strongest work, Steve exhibits music which is lyric yet swinging, complex yet accessible, music which Reich has described as "striking a delicate balance between meticulous, classically tinged writing and fervent blues expression."

All of this is not to detract from Million's piano playing. His soloing is strong and clean, and never sacrifices musicianship for pure virtuosity. He is more pure improvisor than pure piano player, and his approach to melody is very refreshing indeed.

Million To One is available at Kansas City retail outlets, or may be ordered by calling Palmetto Records at 1-800-PALM CDS. It is a must have for all jazz fans, if for no other reason than to check up on another local boy making good. Very, very good.

-- John Leisenring

(Steve Million will be appearing at The Club at Plaza III, January 10 thru 13. Call 753-0000 for additional information. -- Ed.)

Trilogy Big Band
The Trilogy Big Band Does Christmas
Sea Breeze Jazz CDSB 2071

Personnel: Doug Talley, alto & soprano sax, clarinet; Greg Briggs, alto sax, flute, oboe, English horn; Bill Crain, tenor sax, flute, percussion; Todd Wilkinson, tenor sax; Steve Herold, baritone sax, clarinet, bass clarinet; Gary Richmond, lead trumpet; Bob Harvey, lead trumpet (tracks 1, 3, and 9); Jay Sollenberger, trumpet; David Aaberg, trumpet; Al Pearson, trumpet; Dan Storm, trombone; Johnie Eager, trombone; Jim Cann, trombone; Bob Koester, bass trombone; Wayne Hawkins, piano, synthesizer; Tim Brewer, bass; Tom Morgan, drums and percussion.

Tracks: What Child Is This (Greensleeves), Adeste Fideles (Oh Come, All Ye Faithful), O Holy Night, Go Tell It on the Mountain, It Came Upon a Midnight Clear, The Drummer's Carol (adapted from the Little Drummer Boy), The Christmas Song, Winter Wonderland, O Come, O Come Emmanuel, O Christmas Tree (O Tannenbaum).

Want some hard driving Christmas jazz to help get you through the holiday rush? If you move with big band music, this CD will keep you on schedule. Every cut on this CD is deserving of a place in your Christmas stocking. A few of the highlights are as follows.

The album starts with an excellent arrangement of "Greensleeves" by saxophonist Steve Herold. Played at a blistering tempo, solos by Bill Crain and Doug Talley claim top honors on this chart.

"O Holy Night" illustrates the wonderful piano artistry of Wayne Hawkins. And the pure sounds of trombonist Jim Cann unfold into a great swing solo, all in keeping with the holiday mood. Bassist Tim Brewer's supporting role here is also worthy of mention.

On Chuck Tumlinson's arrangement of "Go Tell It on the Mountain," interaction between brass and saxes is superb. Al Pearson solos on flugelhorn and Bill Crain again offers strong tenor work.

Trilogy's version of "The Christmas Song" is probably quite different from what Mel Torme' had in mind, but I'll bet he'd enjoy it. "Winter Wonderland" is an exciting treatment of a Christmas standard with a shining piano solo by Wayne Hawkins.

"O Come, O Come Emmanuel" starts off in a jazzy snake charmer mode and finishes with drummer Tom Morgan working overtime. "O Christmas Tree" -- an unusual vehicle for big band -- is all bassist Tim Brewer. While staying close to the melody, Tim sets a cool mood that leads nicely to the CD's peaceful conclusion.

Next August when it's 105 degrees and you're actually wanting it to snow, the Trilogy Big Band Does Christmas will be worthy of summer listening. But for now, it is highly recommended as an early gift to be enjoyed during the holiday season.

-- Dean Hampton

Jim Widner Big Band
YESTERDAY AND TODAY
Chase Music Group CMD 8045

Personnel: Kim Richmond, alto sax/flute; Kim Park, alto sax/flute; Bill
Perkins, tenor sax/flute; Rick DiMuzio, tenor sax/flute; Jon Stone, bari sax/bass clarinet; John Harner, lead trumpet; Mike Vax, split lead trumpet; Clay Jenkins, trumpet; Dave Scott, trumpet; Rick Stitzel, trumpet (tracks 7, 8, & 9); Tijuana Julian, trumpet (tracks 3 & 7); Paul McKee, trombone; Bruce Paulson, trombone; Ron Anson, trombone; Eric Swanson and Mike Suter, bass trombone; Ray Kennedy, piano; Brian Harman, guitar; Gary Hobbs, drums; Jim Widner, bass; Kris Berg, bass (on tracks 4, 5, 6, & 9).

Tracks: Blues at Drury, Beautiful Love, Yesterdays, ASAP, You Don't Know What Love Is, Festival, My Foolish Heart, Milton's Blues, Forgotten Thoughts, Days of Wine and Roses, Just a Skosh.

Recorded June 20-22, 1995, at Ozark Sound Studio, Springfield, MO.

Last June, KC's Kim Park and Brian Harman headed for Drury College in Springfield, Missouri. The occasion was a week long jazz band camp and an all-star recording session. The resulting album is one of the best big band CDs I've heard.

Besides the local appeal of Harman and Park, this CD is loaded with great musicians. And Rick Stitzel's arrangements are simply excellent. His "Blues for Drury" is the album's kick-off track and it features a strong guitar solo by Harman.

"You Don't Know What Love Is," arranged by Kim Richmond, features Clay Jenkins on trumpet and Richmond on alto. Both soloists are outstanding and Ray Kennedy's piano work adds impressive content to the arrangement.

Another Stitzel chart, "Festival," is seasoned with samba and solo hot sauce. Saxophonist Rick DiMuzio sets the stage for a passionate Brian Harman solo (his best on the CD), and Clay Jenkins' firey trumpet perfectly complements the concluding stick work of drummer Gary Hobbs.

Kim Park's "Milton's Blues" -- suitably arranged by Roy Phillipe in a Basie style -- is something the late Milton Morris would have loved. Kim's solid flute work on this is followed by swinging solos from trombonist Bruce Paulson and trumpeter Mike Vax.

"The Days of Wine and Roses" is another Stitzel arrangement with Kim Park in a soulful spotlight from start to finish. Just when the ballad side of the chart has you in a mellow trance, you are awakened with a double time section that will swing your socks off. Kim's spirited uptempo soloing throughout is among his best recorded work to date. (Louie Bellson said it well in his liner notes: "...Kim Park tipped his wine [glass] to 'Bird and made him smile.")

The best endorsement for this CD, however, comes from trumpet legend, Clark Terry.

"I hope he (Jim Widner) continues to stay involved in putting masterful works together such as this one. Big band fans, you are in for a thrill!"

-- Dean Hampton

COMING ATTRACTIONS:
Just before deadline, we learned of the latest release from Angela Hagenbach and Musa Nova. Look for a full review in the February/March issue of JAM. -- Ed.

RETURN TO DECEMBER/JANUARY 1996 MAIN INDEX

----------------------------------------------------------------© Kansas City Jazz Ambassadors 1996-99. All rights reserved.






	Search our site:		Tom DeMasters ON THE BRIGHT SIDE Sarrita Records SZAM-1331 Personnel: Tom DeMasters, guitars, guitar synth, B-3 organ, vocals; Rick Huyett, Bob Blount, Joe Pruessner, bass; Andy Hambleton, Doug Auwarter, drums; Phil Brenner, sax; Pat Morrissey, trumpet & flugelhorn; Dave Coffin, sequenced keys & drums, rhythm guitar Tracks: Why Oh Why, Duke's Jig, Woke Up To Bad News, Breeze, Blues Strut, Here With Me, Illusions, Rendevouz, Philadelphia, Blues For You, On The Bright Side, Midwestern Recorded and mixed at Chapman Recording Studios, Kansas City, MO On The Bright Side is a debut effort by Kansas City based, jazz-blues guitarist/vocalist Tom DeMasters. And it is an album that provides yet another look at the broad range of talent that can be found in the Kansas City area. A former student of guitarist Steve Vai, as well as an alumnus of KC's Mama Ray/Rich Van Sant band, Tom DeMasters possesses a kick-back yet pulsating bluesy style tinged with a jazzy drive. The twelve original tracks on this CD offer a blues/jazz mosaic of vocal and instrumental performances. The improvisational work of trumpeter Pat Morrissey (of David Basse's City Light Orchestra) along with saxophonist Phil Brenner (who is also featured on Kevin Mahogany's, Songs And Moments) furnish supportive color as drummer Doug Auwarter (Sons of Brazil, Musa Nova), and bassists Bob Blount and Joe Pruessner add the pieces that shape and form the musical patterns of DeMasters' music. After receiving a music degree from Wichita State University (where he studied with Jerry Hahn), DeMasters lived in Los Angeles, taught at East Los Angeles College, and performed at many area jazz clubs. Since his 1983 return to his hometown of Kansas City, Kansas, DeMasters has helped form the Duke Elephant Band, has worked with harmonica man Mo Paul, and has remained active in the clubs and at local festivals. Currently, DeMasters performs at the Levee every Thursday night and at Louisiana Jazz every Saturday. Hours for both are 9:00 p.m. to 1:00 a.m. On The Bright Side is available on CD and cassette at Streetside Records, Penny Lane, Music Exchange, Barnes & Noble and The Best Of Kansas City. -- J.P. Makus Kevin Mahogany YOU GOT WHAT IT TAKES Enja 9039 2 Personnel: Kevin Mahogany, vocals; Benny Golson, tenor saxophone; James Williams, piano; Michael Formanek,bass; Victor Lewis, drums; Jeanie Bryson, vocal ("Baby You Got What It Takes") Tracks: Baby You Got What It Takes, Stockholm Sweetnin', Just In Time, Sophiticated Lady, Route 66, Here's That Rainy Day, Yardbird Suite, My Funny Valentine, Old Times Sake, BG's Groove, God Bless The Child, Little Sherri, Please Send Me Someone To Love Recorded March 19, 1995, at Systems Two, Brooklyn, NY What a pleasure it has been to watch the ascension of Kansas City jazz singer Kevin Mahogany. After years of dues-paying in the clubs and jazz venues of KC, opportunity finally knocked in the form of a recording contract with the prestigious Enja Records, an opportunity that Kevin has taken full advantage of (witness the recent Down Beat Readers Poll in which the name Kevin Mahogany appears in second place right behind that of Joe Williams and ahead of Tony Bennett, Mel Torme' and Bobby McFerrin. Not bad company, that!). You Got What It Takes is the third and most recent release from Kevin Mahogany on the Enja label. And if you enjoyed the first two (Double Rainbow, Songs & Moments), you will want to add this to your collection. From the start, You Got... is clearly a straight-ahead jazz date (literally; it was recorded in one afternoon) and the title tune, done as a duo with guest vocalist Jeanie Bryson, is about as "Kansas City" as it gets, what with the kind of down home shuffle groove Kevin no doubt grew up hearing, playing (on bari sax) and singing. In addition to the aforementioned Ms. Bryson, Kevin has surrounded himself with world class musicians here. Benny Golson's tenor solos bring a seasoned elegance to the cuts on which he appears; pianist James Williams is his customary rock-solid self, as both inventive comper and animated soloist (his clever original "Old Times Sake" with lyrics by Pamela Watson is an album highlight); and bassist Michael Formanek is the perfect harmonic anchor and rhythm section soulmate for veteran drummer Victor Lewis (solos from each on Charlie Parker's "Yardbird Suite" perfectly illustrate their respective chops and musicality as individuals). When all is said and done, however, it is the vocal stylings of Kevin Mahogany that provide the central focus of this album. From heartfelt ballads ("Sophisticated Lady," "My Funny Valentine") to uptempo burners ("Just In Time," "Yardbird Suite") to stops in between (a cool "Route 66," "Here's That Rainy Day" done as a jazz waltz, and "BG's Groove," a Mahogany original dedicated to Mr. Golson), it is clear that You Got What It Takes is a musical document from a jazz singer who will be around for a long time. Kevin Mahogany: yet another Kansas City jazz alumnus of whom the town should be very proud. -- Mike Metheny Steve Million MILLION TO ONE Palmetto Records PM 2014 Personnel: Steve Million, piano; Randy Brecker, trumpet & flugelhorn; Chris Potter, tenor & soprano saxophone; Michael Moore, bass; Ron Vincent, drums. Tracks: Eisenbleu, Blue Lizard, I'm Gettin' Sentemental Over You, No Pork #44, Missing Page, Boo Boo's Birthday, Mood Point, When The Sun Comes Out, Duckbutter, Shadow Woman Recorded Feb. 7-8, 1995, at Ambient Studio, Stamford, CT Steve Million is a young pianist and composer/arranger whose star is ascending rapidly. Jazz fans in and around Kansas City will remember Steve from the mid to late '80s as the regular pianist for singer Ida McBeth as well as for Stan Kessler and his "Flat Five." In 1986, Steve moved his family and career to Chicago where he still lives and works. A fine measure of Million's abilities to date, both as performer and composer, is his first recording under his own name: Million To One on the Palmetto label (PM 2014). Six of the ten compositions on this 1995 CD are Steve's, and they are a strong indication that he is among the best of the new breed of jazz composers. The album is a real tour de force for a fine band assembled by Steve in New York specifically for this project. Featuring a front line of Randy Brecker on trumpet and flugelhorn and Chris Potter on tenor and soprano sax, the band attracts immediate attention. But in spite of these two major horn headliners (who consistently play up a very predictable storm), it is the rhythm section that is the most noteworthy. Joining Million is bassist Michael Moore, a major artist of long-standing reputation, and Ron Vincent, a drummer with strong Kansas City roots. This is perhaps the strongest outing for Vincent in recent memory; his playing is solid, strong and consistently creative. And Moore is a true joy throughout. His relaxed but insistent drive is as we have always known it to be, and he solos with the imagination and musicianship rarely heard by any bass soloist throughout the history of jazz. The tunes chosen for this project cover a wonderfully wide range of styles and emotions. Sprinkled among the Million originals are Thelonious Monk's "Boo-Boo's Birthday," a re-working of the Dorsey theme "I'm Gettin' Sentimental Over You" (an arrangement with strong Monk ties), and the remarkable yet seldom heard Harold Arlen ballad "When The Sun Comes Out." Arthur Hamilton's "Shadow Woman" is given a fine strutting tango framework, and is one of the showcases for Moore's great bass work. It is Million's compositions, however, that are the best of the bunch. He proves here that he is a writer of strong stature. His work has been described by Chicago Tribune music critic Howard Reich as "deeply idiosyncratic and original," and the six original tunes here give the listener constant joy. From the lovely ballad "Missing Page" to "Eisenbleu" which may be the album's strongest work, Steve exhibits music which is lyric yet swinging, complex yet accessible, music which Reich has described as "striking a delicate balance between meticulous, classically tinged writing and fervent blues expression." All of this is not to detract from Million's piano playing. His soloing is strong and clean, and never sacrifices musicianship for pure virtuosity. He is more pure improvisor than pure piano player, and his approach to melody is very refreshing indeed. Million To One is available at Kansas City retail outlets, or may be ordered by calling Palmetto Records at 1-800-PALM CDS. It is a must have for all jazz fans, if for no other reason than to check up on another local boy making good. Very, very good. -- John Leisenring (Steve Million will be appearing at The Club at Plaza III, January 10 thru 13. Call 753-0000 for additional information. -- Ed.) Trilogy Big Band The Trilogy Big Band Does Christmas Sea Breeze Jazz CDSB 2071 Personnel: Doug Talley, alto & soprano sax, clarinet; Greg Briggs, alto sax, flute, oboe, English horn; Bill Crain, tenor sax, flute, percussion; Todd Wilkinson, tenor sax; Steve Herold, baritone sax, clarinet, bass clarinet; Gary Richmond, lead trumpet; Bob Harvey, lead trumpet (tracks 1, 3, and 9); Jay Sollenberger, trumpet; David Aaberg, trumpet; Al Pearson, trumpet; Dan Storm, trombone; Johnie Eager, trombone; Jim Cann, trombone; Bob Koester, bass trombone; Wayne Hawkins, piano, synthesizer; Tim Brewer, bass; Tom Morgan, drums and percussion. Tracks: What Child Is This (Greensleeves), Adeste Fideles (Oh Come, All Ye Faithful), O Holy Night, Go Tell It on the Mountain, It Came Upon a Midnight Clear, The Drummer's Carol (adapted from the Little Drummer Boy), The Christmas Song, Winter Wonderland, O Come, O Come Emmanuel, O Christmas Tree (O Tannenbaum). Want some hard driving Christmas jazz to help get you through the holiday rush? If you move with big band music, this CD will keep you on schedule. Every cut on this CD is deserving of a place in your Christmas stocking. A few of the highlights are as follows. The album starts with an excellent arrangement of "Greensleeves" by saxophonist Steve Herold. Played at a blistering tempo, solos by Bill Crain and Doug Talley claim top honors on this chart. "O Holy Night" illustrates the wonderful piano artistry of Wayne Hawkins. And the pure sounds of trombonist Jim Cann unfold into a great swing solo, all in keeping with the holiday mood. Bassist Tim Brewer's supporting role here is also worthy of mention. On Chuck Tumlinson's arrangement of "Go Tell It on the Mountain," interaction between brass and saxes is superb. Al Pearson solos on flugelhorn and Bill Crain again offers strong tenor work. Trilogy's version of "The Christmas Song" is probably quite different from what Mel Torme' had in mind, but I'll bet he'd enjoy it. "Winter Wonderland" is an exciting treatment of a Christmas standard with a shining piano solo by Wayne Hawkins. "O Come, O Come Emmanuel" starts off in a jazzy snake charmer mode and finishes with drummer Tom Morgan working overtime. "O Christmas Tree" -- an unusual vehicle for big band -- is all bassist Tim Brewer. While staying close to the melody, Tim sets a cool mood that leads nicely to the CD's peaceful conclusion. Next August when it's 105 degrees and you're actually wanting it to snow, the Trilogy Big Band Does Christmas will be worthy of summer listening. But for now, it is highly recommended as an early gift to be enjoyed during the holiday season. -- Dean Hampton Jim Widner Big Band YESTERDAY AND TODAY Chase Music Group CMD 8045 Personnel: Kim Richmond, alto sax/flute; Kim Park, alto sax/flute; Bill Perkins, tenor sax/flute; Rick DiMuzio, tenor sax/flute; Jon Stone, bari sax/bass clarinet; John Harner, lead trumpet; Mike Vax, split lead trumpet; Clay Jenkins, trumpet; Dave Scott, trumpet; Rick Stitzel, trumpet (tracks 7, 8, & 9); Tijuana Julian, trumpet (tracks 3 & 7); Paul McKee, trombone; Bruce Paulson, trombone; Ron Anson, trombone; Eric Swanson and Mike Suter, bass trombone; Ray Kennedy, piano; Brian Harman, guitar; Gary Hobbs, drums; Jim Widner, bass; Kris Berg, bass (on tracks 4, 5, 6, & 9). Tracks: Blues at Drury, Beautiful Love, Yesterdays, ASAP, You Don't Know What Love Is, Festival, My Foolish Heart, Milton's Blues, Forgotten Thoughts, Days of Wine and Roses, Just a Skosh. Recorded June 20-22, 1995, at Ozark Sound Studio, Springfield, MO. Last June, KC's Kim Park and Brian Harman headed for Drury College in Springfield, Missouri. The occasion was a week long jazz band camp and an all-star recording session. The resulting album is one of the best big band CDs I've heard. Besides the local appeal of Harman and Park, this CD is loaded with great musicians. And Rick Stitzel's arrangements are simply excellent. His "Blues for Drury" is the album's kick-off track and it features a strong guitar solo by Harman. "You Don't Know What Love Is," arranged by Kim Richmond, features Clay Jenkins on trumpet and Richmond on alto. Both soloists are outstanding and Ray Kennedy's piano work adds impressive content to the arrangement. Another Stitzel chart, "Festival," is seasoned with samba and solo hot sauce. Saxophonist Rick DiMuzio sets the stage for a passionate Brian Harman solo (his best on the CD), and Clay Jenkins' firey trumpet perfectly complements the concluding stick work of drummer Gary Hobbs. Kim Park's "Milton's Blues" -- suitably arranged by Roy Phillipe in a Basie style -- is something the late Milton Morris would have loved. Kim's solid flute work on this is followed by swinging solos from trombonist Bruce Paulson and trumpeter Mike Vax. "The Days of Wine and Roses" is another Stitzel arrangement with Kim Park in a soulful spotlight from start to finish. Just when the ballad side of the chart has you in a mellow trance, you are awakened with a double time section that will swing your socks off. Kim's spirited uptempo soloing throughout is among his best recorded work to date. (Louie Bellson said it well in his liner notes: "...Kim Park tipped his wine [glass] to 'Bird and made him smile.") The best endorsement for this CD, however, comes from trumpet legend, Clark Terry. "I hope he (Jim Widner) continues to stay involved in putting masterful works together such as this one. Big band fans, you are in for a thrill!" -- Dean Hampton COMING ATTRACTIONS: Just before deadline, we learned of the latest release from Angela Hagenbach and Musa Nova. Look for a full review in the February/March issue of JAM. -- Ed. RETURN TO DECEMBER/JANUARY 1996 MAIN INDEX ----------------------------------------------------------------© Kansas City Jazz Ambassadors 1996-99. All rights reserved.