Karrin Allyson
COLLAGE
Concord Records CCD-4709

Personnel: Karrin Allyson, vocals, piano (trk 5, 10), percussion (1), whistle (12); Paul Smith, piano (1-4, 6, 8); Bob Bowman, bass (except 5); Todd Strait, drums (except 2, 5), percussion (1, 11); Rod Fleeman, acoustic guitars (2, 8-12); Danny Embrey, electric guitar (1, 4, 6, 11); Kim Park, alto saxophone (6, 8); Randy Weinstein, harmonica (10, 12), bass harmonica (12); Claude "Fiddler" Williams, violin (2); Carter Brey, cello (5); Mike Metheny, flugelhorn (6); Laura Caviani, piano (7); Interstring (Fleeman, Embrey, Bowman, Strait) (11); chorus (11) Karrin Allyson, Bill McGlaughlin, Chrystopher Von Angersbach, Jean & Bob Bowman, Frank Conroy, Danny Embrey, Spencer & Rod Fleeman, Stan Kessler, Jerry Latsky, Kim Park, Paul Smith, Louise & Todd Strait, Randy Weinstein, John Zeiner

Tracks: It Could Happen To You/Fried Bananas, Autumn Leaves, Robert Frost, All Of You, And So It Goes, Joy Spring, Ask Me Now, Cherokee, Here There and Everywhere, Give It Up or Let Me Go, Faltando Um Pedaço (Missing a Piece), Live For Life

Recorded January 1996 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer

In business, quality is a blend of doing things right the first time combined with continuous improvement. Collage, Karrin Allyson's latest for Concord Jazz, makes the point that this is also true in music.

Karrin Allyson does everything well. On ballads, blues and uptempo swingers, she has a beautiful sound, unerring pitch, pronunciation and phrasing, and she can swing while holding just one note. Her CDs just keep getting better.

On previous albums, Karrin has surrounded herself with some of the finest musicians in Kansas City, many of whom are good enough to go toe to toe with anyone in any jam session in any city in the world. Her fourth release as a leader is no exception.

Collage opens with a spirited Latin version of "It Could Happen To You/Fried Bananas" arranged by Karrin and pianist Paul Smith. It's the first of several times on the disk in which Allyson is heard singing in perfect unison with a backup instrumentalist, and with unique and effective results. There are also solid solos on this cut by Smith and guitarist Danny Embrey.

Next, Rod Fleeman's arrangement of "Autumn Leaves" begins as a ballad sung by Karrin in French. It then becomes a straight-ahead swinger, providing a solid framework for solos by Claude "Fiddler" Williams and guitarist Fleeman.

The third track, "Robert Frost," begins as a "biographical" ballad about the poet with Karrin backed by Paul Smith, bassist Bob Bowman and drummer Todd Strait. Allyson's clear voice and clean pronunciation are a joy to hear, and there are also some clever lyrics by Jay Leonhart.

"All Of You," arranged by Allyson and KC Symphony maestro Bill McGlaughlin, is another opportunity to hear flawless unison between vocalist and guitar, plus another swinging improvisation by Danny Embrey.

"And So It Goes" is a ballad featuring Karrin as both vocalist and pianist with accompaniment by cellist Carter Brey. This combination evokes a quasi-classical feel, and with moving results.

"Joy Spring," arranged by Danny Embrey, brings in wind instruments for the first time and the song's title tells the tale. It's a joyful track and a welcome change of pace that adds the color of Mike Metheny's flugelhorn and Kim Park's alto. Both play creative, lyrical solos on this Clifford Brown classic.

On the ballad "Ask Me Now," the focus is on Allyson's uncommon ability to express the meaning of the words. This time she is backed by pianist Laura Caviani, along with bassist Bowman and drummer Strait.

The jazz standard "Cherokee" begins as a ballad and then explodes to nearly four times the original tempo. With Kim Park on alto, there is a distinct flavor here of Charlie Parker and Ella Fitzgerald. This is an extraordinary piece of music with a spectacular ending.

Next, Bob Bowman's arrangement of the Beatles' "Here, There and Everywhere" is a beautifully performed ballad in which Karrin's vocals are complemented by the gentle sounds of Rod Fleeman's guitar and Todd Strait's quiet, insistent beat.

"Give It Up Or Let Me Go" is a down-home blues featuring Randy Weinstein on harmonica; it's a track that comes across as if everyone in the recording session has a smile on his or her face. It segues nicely into "Faltando Um Pedaço" (Missing a Piece) featuring the ensemble known around KC as "Interstring" (Embrey, Fleeman, Bowman and Strait). Having sung "Autumn Leaves" in French, Karrin shows her linguistic versatility by singing this Brazilian tune in Portuguese. It, too, is a ballad with a slow but compelling beat that is accentuated by an ensemble chorus of friends and colleagues who were on hand for the recording.

"Live For Life" is a buoyant waltz arranged by Rod Fleeman and Allyson. It incorporates some very interesting instrumental combinations, including Fleeman's guitar, Weinstein's harmonicas, and even some whistling by the ever-versatile Karrin Allyson.

Collage contains an hour's worth of excellent music and should be in the collection of anyone who enjoys great singing, swinging Kansas City jazz, and just plain well-played music. It can be found at any good retail outlet with a diverse selection of jazz and it is highly recommended.

-- Jerry Landsbaum

---

Paul Hofmann
THERE WITH A SMILE
MHR Records CD-05

Personnel: Paul Hofmann, piano, composer: all selections; Charles Perkins, flute, clarinet and bass clarinet, alto & soprano saxophone; Tommy Ruskin, drums

Tracks: There With a Smile, Proof Positive, When You're Not Around, J.T.H., Impression (of Susan), Chopinesque, The Greatest Cat, Ryan's Bop, Lynn Marie, Back Home Blues, Grapes, Haviv, Relaxin' on Marco, Devotion, In Our Hearts, There With a Smile (Reprise)

Recorded January 24-25, 1995, Soundtrek Studio, Kansas City, MO; Ron Ubel, engineer

This CD is great, grown-up fun, for grown-ups who still know how to have fun. It offers a tasteful sound that makes men want to start the evening in ties, and women in nylons. The mood is swingin', not stirred, with a twist; a great way to unwind at the end of the day or the week.

Paul Hofmann lived in Kansas City for three years (1992-95), but has since returned to Rochester, New York, where he studied at the Eastman School of Music. He returns to K.C. a couple of times a year to work ("Kansas City has a strong local music scene, with more work in clubs available than most cities") and to record ("I love Soundtrek Recording Studio.").

This is Hofmann's fifth recording, the last three of which were recorded here and featured other K.C. musicians. All the cuts are originals, each dedicated to a family member (including Pookie the cat). Not surprisingly, then, each piece has its own style and personality, and they cover the waterfront. Although the voice is unquestionably Hofmann's own, there are classical and cabaret influences, as well as touches of the playfulness of Monk, the drive of Corea, and the swing of Kansas City. Charles Perkins and Tommy Ruskin, both superb players with renaissance ranges of talent, were perfect choices to round out the trio and enhance the many moods of the compositions.

Paul's favorite cut is "Impression (Of Susan)," a piano and soprano saxophone duet. "It is the most musically interesting. A little weird and a little creative." I also particularly enjoyed the title track, which both opens and closes the record. It combines a bouncy stride with a little Monk edge, while Perkins' clarinet hints at New Orleans. If you purchase this CD -- and you should -- call some friends, chill some glasses, fill the ice bucket, and get ready to loosen your tie. Paul Hofmann may now be in Rochester, but you can still enjoy an evening relaxing with him and his trio on There With A Smile.

-- Gregg Ottinger

---

Matt Kane
ON OUR OWN

Personnel: Matt Kane, drums; Tony LaPuma, bass; Tom Rickard, vibraphone

Tracks: Sweet Georgia Bright, Blue In Green, Effendi, Mambo de Gato, Eronel, Blue Tony, Lee Ann's Flight, Ugetsu

Recorded March 30, 1996, at the University of Missouri/Kansas City; Scott Gregory, engineer

On Our Own is the debut album of three seasoned Kansas City sidemen who, in 1995, decided to form a trio after seven years of performing with other groups. Comprised of four standards and four originals, On Our Own was recorded in one afternoon without any overdubs or effects. The intention was to re-create the freshness and spontaneity of a live session.

Drummer Matt Kane, bassist Tony LaPuma and vibraphonist Tom Rickard waste little time as they dive into "Sweet Georgia Bright" with an intensity that resolves nicely into a Latin groove before fading. The dreamy treatment of the ballad "Blue In Green" highlights vibraphone work reminiscent of Bill Evans' accompaniment on Miles Davis' "Kind of Blue;" solos on this track are tender and introspective, maintaining the distinctive elegance of the original.

The trio's arrangement of McCoy Tyner's "Effendi" brings a Gary Burton influence to this recording with a linear building of the opening statement followed by numerous accents, pauses and shifts. "Mambo de Gato" starts somewhat awkwardly and ends abruptly, but its gait ultimately emphasizes Kane's skills as a percussionist. "Eronel" adds a Cal Tjader/Charlie Shoemake touch to a lilting, swing-waltz, and it's only during long and redundant solos that the piece sometimes seems to slow.

Rickart's "Blue Tony" and "Lee Ann's Flight" are two compositions that best represent the improvisational skills of the ensemble. Both seem to say more with less. And shades of Emil Richards are found in Cedar Walton's "Ugetsu;" a track that's cool and collected, yet energized and hungry.

The instrumentation featured on this recording is rarely utilized as complete ensemble. On its debut recording, however, the Matt Kane Trio showcases all performers equally and with one voice. All group members are clearly on the same wavelength here and seem to share a similar approach to the playing of mainstream jazz.

Even though some refinements could have been made to this project, the end result is still a winner. The sense of spontaneity and the willingness of the musicians to yield to the moment make this recording session very much worthwhile.

On Our Own is a notable start for the Matt Kane Trio.

-- J. P. Makus

---

Original Motion Picture Soundtrack
"KANSAS CITY"
Verve #314 529 554-2

Personnel: Kevin Mahogany, vocal; Olu Dara, cornet; Nicholas Payton, James Zollar, trumpet; Curtis Fowlkes, Clark Gayton, trombone; Don Byron, clarinet, baritone saxophone; James Carter, tenor & baritone saxophone; Jesse Davis, alto saxophone; David "Fathead" Newman, alto saxophone; Craig Handy, tenor saxophone; David Murray, tenor saxophone; Joshua Redman, tenor saxophone; Russell Malone, guitar; Mark Whitfield, guitar; Geri Allen, piano; Cyrus Chestnut, piano; Ron Carter, bass; Tyrone Clark, bass; Christian McBride, bass; Victor Lewis, drums

Tracks: Blues in the Dark, Moten Swing, I Surrender Dear, Queer Notions, Lullaby of the Leaves, I Left My Baby, Yeah Man, Froggy Bottom, Solitude, Pagin' the Devil, Lafayette, Solitude (Reprise)

Recorded on location at "The Hey Hey Club" between May 11 and 22, 1995

Taking advantage of the current crop of "young jazz lions" plus a few established musicians, the soundtrack to Robert Altman's film, "Kansas City," makes musical magic in re-creating the sound of 1934 Kansas City jazz.

1934 in KC. Prohibition has been repealed and Boss Pendergast rules. Within this atmosphere lay just the right elements to attract some of the brightest players of the day. Count Basie, Jay McShann, Bennie Moten... these are just a few of the names that had a part in shaping KC's jazz heritage. Trying to reproduce these sounds alone is a daunting task. To try to do this as a backdrop for a movie production... unimaginable. How to provide 1990s recording techniques and technology within the guise of a 1930s nightclub? How to book 20 class musicians with respect to a demanding film schedule? With the help of engineer Eric Liliestrand, musical director Hal Willner answered the call. You can almost smell the cigar smoke and spilt gin emanating from the resulting CD.

The "atmosphere" is clearly established from the first cut as James Carter and Joshua Redman, two of today's hottest tenor players, trade a set of solos on the Basie/Rushing tune, "Blues in the Dark." True to the Kansas City history of fine and innovative tenors, they are found in abundance throughout this recording.

The "cutting contests" continue through a sometimes raucous set backed by a small big band. At the core of this ensemble is the only constant, drummer Victor Lewis. The constant shifting of players in front of Lewis mirrors the mythical jam sessions of the day, playing familiar tunes, the arrangements simple and straight-forward, and always with plenty of room for the front liners to challenge each other. You couldn't have a Kansas City jam session without playing "Moten Swing," and this version is classic as Jesse Davis takes on Carter in another duel.

Slowing down to a slow burn, Carter holds the stage and shows what he can do for a ballad, giving "I Surrender Dear" a nice sultry flavor. Nicholas Payton's trumpet followed by Cyrus Chestnut on the piano, give the appropriate final touches with their own steaming solos. David Murray leads the group through the next tune, Coleman Hawkins' "Queer Notions." Russell Malone, playing guitar with that thin electrified sound of the day, pulls out the stops for a strong turn at center stage handing it off to Chestnut while spelling Murray. "Lullaby of the Leaves" brings us back from Murray's ethereal heights with a trio of solos by Davis, Clark Gayton on trombone and Geri Allen on piano.

One of the high points comes when KC's own Kevin Mahogany takes a crack at "I Left My Baby." After the vocal, David "Fathead" Newman and Craig Handy have at each other in a tenor brawl that ends in a stand-off until Curtis Fowlkes intercedes with a statement of his own: a gutsy and dirty trombone solo that brings the tune to its climax, with a final few shots from Newman and Handy. This is followed by "Yeah, Man" which manifests itself as a rousing duel between Handy and Redman in front of a driving band.

Playing in a spare style a la Basie, Geri Allen leads us into "Froggy Bottom" and gives us a chance to catch our breath. Keeping it slow, Joshua Redman checks in with a haunting solo on "Solitude" which traverses between sadness, melancholy and happiness... all appropriately delivered.

"Pagin' The Devil" is the trio of Don Byron on clarinet, Olu Dara on cornet and Clark Gayton in front of a rhythm section just warming up for the final contest of the night: a three way trumpet/cornet duel between Nicholas Payton, James Zollar and Olu Dara which goes round and round on "Lafayette."

...The crowds have left and only a few musicians remain; time for just one more tune, a reprise of "Solitude." Bassists Ron Carter and Christian McBride finally get to show their stuff in a tender duet before being joined by Byron's clarinet to bring it all to a peaceful and satisfying end.

-- William M. Buchanan III

---

Kevin Mahogany
KEVIN MAHOGANY
Warner Bros. 9 46226-2

Personnel: Kevin Mahogany, vocals; Kirk Whalum, saxophone; Peter Bernstein, guitar; James Weidman, piano; Larry Goldings, Hammond organ, piano (trk 6); Rodney Whitaker, bass; Greg Hutchinson, drums; Bashiri Johnson, percussion

Tracks: Yesterday I Had The Blues, I Love You More Than You'll Ever Know, Dark End Of The Street, I Can't Make You Love Me, I'm Walkin', I Never Dreamed You'd Leave In Summer, Oh! Gee!, Still Swingin', When October Goes, Little Black Samba

Recorded 1996, Right Track, New York City

Kevin Mahogany (the CD) has something for everyone, and a whole lot for fans of Kevin Mahogany (the vocalist).

This is Kevin's debut album for Warner Bros. after three critical and popular successes for Enja, and it is clearly aimed at introducing Kevin to an even broader audience through a diverse selection of material.

Kansas City music fans know very well that for the last decade, whenever they go out to hear live music, regardless of the venue or the headliner, whether jazz, blues or rock, and no matter the hour or the night of the week, Kevin is likely to appear and be invited to sit in for a couple of tunes. His lessons well learned and dues fully paid, Kevin now offers a CD of great variety, which showcases the range of his gifts and those of his band.

The opening wail of Kirk Whalum's sax on the first cut on this disk, the gospel-influenced "Yesterday I Had The Blues," will immediately grab you, and by the time Kevin enters, you are hooked and ready to listen to him testify. Kevin's unsanded vocals on that low-down blues are followed by his rich, bottomless baritone on "I Love You More Than You'll Ever Know," a beautiful ballad by Al Kooper. Kevin continues to mine the gospel/blues vein through the first half of the CD, until he cuts loose with his first scat, on Fats Domino's "I'm Walkin'."

There is no doubt that the critics, this one included, love Kevin Mahogany's voice and style. Somewhat under appreciated, however, is his genius for selecting material that complements his vocal gifts.

"What we were looking for were compositions that were strong lyrically, regardless of genre," Kevin explains. "When you hear Fats Domino sing 'I'm Walkin',' it's a pop tune, but it's really blues. It's a good tune, which is what we were looking for."

Although the CD features songs by several well known composers, the best tune on the album is "Still Swingin'," one of Kevin's original compositions. Church is out and we are in the club for this one. The disk ends on an uptempo, Latin note, with "Little Black Samba," a wonderful vehicle for Kevin's percussive scatting.

It doesn't matter what kind of music you prefer. This album has something for you. Joe Turner and Jimmy Rushing may have put Kansas City on the map of male vocalists, but Kevin Mahogany will keep it there for a long time to come.

-- Gregg Ottinger

---

Jay McShann
JUST A LUCKY SO AND SO
Sackville SKCD2-3035

Personnel: Jay McShann, piano, vocals; Jim Galloway, soprano & bari saxophone; Don Thompson, bass; Terry Clarke, drums

Tracks: When I Grow Too Old To Dream, Georgia On My Mind, Basin Street Blues, Red Sails In The Sunset, On A Clear Day, Up A Lazy River, Once Upon A Time, Just A Lucky So And So

Recorded in Toronto, Canada, August 24, 1993

Pianist/bandleader Jay McShann holds claim to a legendary status enjoyed by few active jazzmen. At 80, he shows no signs of slowing. Or cooling.

McShann, acclaimed as a Kansas City blues artist, is heard here in the role of romantic balladeer. All of the songs are warmly tinged with a blueish hue, although the 12 bar blues format is not prevalent. He shapes every number with subtle timing and phrasing that enhances the lyric and exudes a strong sexual appeal. McShann's keyboard skills masterfully interpret the program's variety of settings and underscore his eloquent vocals.

Despite the vast disparity of McShann and Jim Galloway's backgrounds, they are a perfect pair with an intimate meeting of musical minds. Galloway's lyrical reeds emit a flow of tender slurs and growls that accentuate his sophisticated harmonic imagination. He can soar with melodic elegance, or slyly bend a note to create an eyebrow-lifting insinuation. Bassist Don Thompson's steady heartbeat, and Terry Clarke's sensitive drumming enforce the small group's perceptive rhythm.

The tune selection plows no fresh furrows; you have heard the words and music before, but probably never as subjectively interpreted -- and never with McShann and Galloway's lustfully expressive approach. Their warm collaboration of reeds and keys introduces refreshing nuances that magically transform familiar themes (even "Basin Street Blues") into stirring creations.

The title number is a launching pad for Galloway's searing soprano sax chorus. The deep resonance of his robust baritone sax adds reverent tones to "On A Clear Day" and "Georgia." "Red Sails" is an outpouring of romanticism by McShann and Galloway, and the bitter-sweetness of "Once Upon A Time" is also vocally and instrumentally explored.

Contrary to his beautifully expressed Oscar Hammerstein lyric, Jay McShann will never "Grow Too Old To Dream!"

-- Floyd Levin


RETURN TO AUGUST/SEPTEMBER 1996 MAIN INDEX

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