JAM Magazine: October/November 1998 Issue: For the Record

Arch Martin/Ed Dix
ONE MORE TIME!!
Warren Durrett presents
"Two Guys from Kansas City"
Letter D Productions

Personnel: Arch Martin, trombone; Ed Dix, tenor saxophone; Paul Smith, piano; Bob Bowman, bass; Tommy Ruskin, drums

Tracks: A&J Express, The Days of Wine and Roses, Body and Soul, America the Beautiful, Back at the Chicken Shack, Pretty Song, Jive at Five, My Foolish Heart, Portia Faces Life, The Second Time Around, Don't Blame Me, CC and Water

Recorded March 2-3, 1998 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

OK, students, do any of you remember Benny Green? No, not Benny Green the contemporary pianist, Benny Green the pioneer bop trombonist. I know at least one person who does. Arch Martin. The wryly humorous commentary that Arch's playing delivers on this CD clearly bears Benny's influence. But it's filtered and refined into Arch's unmistakable style.

You get big points if you sensed Green's influence on Martin, but Ed Dix's tenor antecedents are less difficult to spot. To my ear, Ed plays an interesting amalgam of Zoot Sims' swing and Al Cohn's ideas, excellently executed in a relaxed fashion. It isn't surprising that the whole session is relaxed, given the many years these five musicians have worked together in various combinations.

What might be surprising, however, is the way Martin and Dix make the two Bob Brookmeyer originals, "Pretty Song" and "Portia Faces Life," sound like material they have been working with for years. "Pretty" only got its first performance earlier this year, and "Portia" was done by Bob specifically for this date. Most of the other tunes are familiar standards, and former Kansas Citian Dave Zoller contributed his "A&J Express" and "CC and Water."

Why am I attracted to this kind of jazz? Because I've had it with players who try to show how many zillions of notes or strokes per minute they can deliver. There's none of that here, though all these players come with enormous chops and can do nearly anything on their instruments you could imagine.

When you hear Arch and Ed render "Pretty Song," you are reminded that slower tempos impose a greater challenge on the artist to produce a thing of rich jazz expressiveness. And they do. Weaker improvisers would race up and down the scales and produce an avalanche of thirty-second notes to cover thin melodic inventiveness. Again, there's none of that here, just a fine sense of comfort throughout.

I should also mention that most of the players on this CD are friends of mine. If you think that colors my judgment, so be it. Friends or no friends, however, I did have one negative reaction. A couple of the tunes don't end, they just fade out. The players repeat a lick while the engineer turns down the sound until there's silence. Sort of like watching "Soul Train" on TV. Musicians this good are capable of devising more interesting finishes. But, apart from that small bit of nitpickery, I recommend this CD strongly.

One more thing. Kansas City owes a lot to Warren Durrett for making sessions like this possible. And that's to say nothing of the many other great things he has done for K.C. music over the past five decades.

-- Bill Fogarty

Kim Park
THUNDERHORN
The Music of Kim Park
Thunderhorn Productions TP-7111

Personnel: Kim Park, alto, tenor, soprano, bari saxes, flutes; John Burr, Joe Cartwright, Frank Mantooth, piano; Bob Bowman, Gerald Spaits, Tom Kennedy, bass; Todd Strait, Gary Hobbs, drums; Danny Embrey, guitar; Ray DeMarchi, percussion; Karrin Allyson, vocal

Tracks: Taking a Chance On Love, Pebble Beach, Amelia, Hide the Jar, Hemispheres, Just Friends, Star People, Domingo, Truth, Cool School, Only Trust Your Heart, Osage Vespers

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

If, as the Lakota quote on the inside cover states, "We are all related," then Kim Park is the family member who got the chops.

From design and liner notes to the final cut, "Osage Vespers," (played a cappella on a Plains Indian flute), this epiphany pays tribute to the artist's Native American roots. This is not to say that Thunderhorn, eight years in the making, is monodimensional. To the contrary, it is a tapestry of eclectic originals interwoven with a few deserving standards each celebrating Park's peerless proficiency on the reeds.

Among my favorites, the infectious (but tricky) unison head of "Hide the Jar," which dissolves into a medium blues featuring Park's snaky tenor slithering through those changes we all (think we) know and love. For the metrically challenged this could be subtitled, "Hide the Bar" (you'll get it when you listen). "Amelia," (like "Hide the Jar," a Park original) is a haunting monument to the late aviatrix complete with a bridge that doesn't go where you think it might (neither did her plane). And there's the refreshingly slow and reflective "Just Friends," wherein Park stretches each note/idea/line to its maximum prosaic potential.

Todd Strait's alternating rhythmic beds provide a fertile foundation for Park's introspective soprano as it pulsates with and probes through each major, dominant, minor feature of "Hemispheres" (both sides of an issue).

"Cool School" is introduced with the foreground bass of Bob Bowman. This attitude piece boasts characteristically well-placed passages and punches, never better executed than with/by Park's alto. You'll also enjoy Joe Cartwright's way-too-hip trip to the vintage repository.

Park's notoriously facile flute challenges the chromatics of a Spirit-inspired waltz, "Star People," as well as Vince Guaraldi's capricious "Pebble Beach."

He doesn't need (nor choose) to quote recklessly but you'll find some clever ones throughout, e.g. a ripple of "Willow Weep For Me" within the aforementioned "Pebble Beach" and a bite of "Scrapple From the Apple" hidden inside the hard driving samba, "Domingo," another Park composition, this one a kickin' tongue and lung alto tour de force.

Karrin Allyson's pure and gentle vocal prelude sets up an intimate yet powerful interplay between voice, alto and piano (followed by their respective solos) on Carter/Cahn's "Only Trust Your Heart."

Mostly local heavyweights comprise the ensemble and they contribute mightily. There are too many great solos to recount but special mention goes to Bowman's take on "Amelia," Cartwright's quasi-classical strains traversing "Star People," and any/all of John Burr's choruses.

According to an ancient Lakota proverb, "He who purchases that which takes eight years to complete will be immeasurably blessed."

O.K. I said it, but it's true.

-- Carol Comer

Dave Stephens Swing Orchestra
SWING OUT!
DS-16188

Personnel: Dave Stephens, vocals, marvinizer; Russ Long, piano, vocals; Bram Wijnands, Milt Abel, bass; Rod Fleeman, guitar; Jurgen Welge, drums, vocals; Steve Patke, clarinet, tenor and soprano saxes, flute; Marvin Hart, trombone; Jay Sollenberger, trumpet; "Washboard" Chaz, washboard

Tracks: It Don't Mean a Thing (If It Ain't Got That Swing), 8, 9 and 10, Swinging On a Star, Renessa, Steppin' Out (With My Baby), I Wanna Be Like You, Is You Is or Is You Ain't (My Baby), Unavoidably Blue, Please Don't Talk About Me (When I'm Gone), Wrap Your Troubles in Dreams, Better Than This, Sway, Hit That Jive, Jack

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

Much of Kansas City knows the Dave Stephens Swing Orchestra from its regular gigs at The Hurricane, 210 at Fedora and 39 on Main. Now fans new and old have the opportunity to pick up the band's new (and first) CD, Swing Out! No need to wait for those live gigs anymore; on this album you can hear the songs they do so well at the clubs anytime you wish.

This CD is, in fact, much like hearing the band live. It's one big, swinging, always-fun, always entertaining production. Beginning with an introduction by somebody who sounds suspiciously like Dan Ackroyd (surely it isn't, but one nevah knows, do one?), the band moves high speed into "It Don't Mean a Thing If It Ain't Got That Swing." (Swing dancers reading this are already starting to move at just the thought, I'm sure of it...)

Old standards like "8, 9 and 10," "Swinging on a Star," and "Hit That Jive, Jack" plus several originals from Stephens and company also make this a timely CD, what with the swing craze again in high gear. Of course, Dave's been doing his swing thang for some time now (does that mean he is behind or ahead of his time?...), and here he pays homage to the big band sounds that came before today's '90s kids even knew of the existence of swing.

Dave's "Renessa" is an Italian-style love song, and "Unavoidably Blue" and "Better Than This" were co-written with KC pianist Russ Long. "Unavoidably Blue" evokes visions of a couple alone on a smoky dance floor at closing time with the bar help putting up the chairs. "Better Than This" is a solid swing tune with that again-popular swing sound.

There are also a couple of surprises. "Steppin' Out (With My Baby)" goes as far as to replicate a scratched up 78 toward the song's end, a nice, authentic touch. And "Please Don't Talk About Me When I'm Gone" brings to mind the sound of Rudy Vallee's megaphone stylings of the '30s.

Additional songs include "I Wanna Be Like You," "Is You Is or Is You Ain't (My Baby)," "Wrap Your Troubles in Dreams (and Dream Your Troubles Away)" and "Sway." Each are vintage Dave Stephens and gang.

By the way, that "gang" includes an impressive lineup of Kansas City musicians. There's Russ Long (piano and vocals), Bram Wijnands (bass), Milt Abel (also on bass), Rod Fleeman (guitar), Jurgen Welge (drums and vocals), Steve Patke (clarinet, tenor and soprano sax, flute), Marvin Hart (trombone), Jay Sollenberger (trumpet) and "Washboard" Chaz on, of course, the washboard. All with Dave Stephens leading the way on vocals and "marvinizer." (Jurgen Welge came up with this term to describe Dave's unique use of Marvin Hart's trombone mute. See "Rudy Vallee" above.)

On Swing Out! the Dave Stephens Swing Orchestra does what it does best -- it delivers the sounds of swing, Kansas City style. If you're looking for a lively -- and swinging -- CD that is great fun start to finish, this is one for your collection.

-- Vanessa Barnard

The Kerry Strayer Septet
JERU BLUE
A Tribute to Gerry Mulligan
Palmetto Records

Personnel: Kerry Strayer, baritone and soprano saxophone; Randy
Brecker, trumpet, flugelhorn; Ted Nash, tenor saxophone, flute; John Mosca, trombone; Ted Rosenthal, piano; Dean Johnson, bass; Ron Vincent, drums

Tracks: Jeru Blue, Rio 1, Tell Me When, Festive Minor, Dragonfly, Oh, Mr. Sauter? Yes, Mr. Finegan?, Night Lights, North Atlantic Run, Idol Gossip

Recorded March 13-14, 1997 at Systems Two Recording, New York, NY; Mike Marciano, engineer.

The list of players who have been able to coax swinging jazz from that perplexing piece of plumbing called the baritone saxophone is short. There was Harry Carney of Duke Ellington's orchestra, Jack Washington of the Basie band, Serge Chaloff of the Woody Herman reed section known as the Four Brothers, and Pepper Adams of the Thad Jones-Mel Lewis Orchestra, but none of them had many opportunities to solo.

Leo Parker could play bop on the thing, but he didn't live long enough. Hamiet Bluiett does something totally different with it. And, of course, there was Gerry Mulligan, the man who expanded by miles (no pun intended) the definition of the instrument and showed us it could be light and lyrical.

It is time to add a new name to the list. Kerry Strayer can swing with the best of them. While this recording is indeed worthy homage to Gerry Mulligan, it is also a fine piece of playing in its own right.

Although Kerry Strayer has been a fixture of the Kansas City jazz performance and education scenes for some time, this is only his second CD (after Kerry Strayer & The New Kansas City 7: Why Not Now?). This time, he reveals himself to be a full-fledged Mulliganiac, surrounded not just by Mr. Mulligan's compositions, but also by his sidemen. All the songs except one are Mulligan tunes (the exception, "Jeru Blue," is a Strayer original in tribute to the Master) and the rhythm section (Ted Rosenthal, Dean Johnson and Ron Vincent) is three-quarters of the last Gerry Mulligan quartet. The other members of the septet, Randy Brecker, Ted Nash and John Mosca, are all pedigreed players. Together they have produced a recording and tribute that is noteworthy in every sense of the word.

In the hands of a capable arranger -- and Kerry Strayer is that and more -- a septet is a wonderful musical vehicle. It can offer the fullness of a big band, as well as the improvised solos of a small combo, plus rhythmic riffs or walls of support behind the solos, to which neither the smaller nor larger ensemble is well suited. For the septet to achieve this potential, both the arrangements and the implementation must be tight. Here, they are.

We knew from his first CD and his live performances that Kerry Strayer could play. Now, we know he, like Gerry Mulligan, is a sophisticated, dynamic and versatile arranger. For example, the opening tune, "Jeru Blue," begins with Kerry's baritone alone over a brushed drum. Later lines feature the flute and bass playing the same melody. "Festive Minor" offers the baritone sax and trumpet in a call and response, followed by counter melodies, a Mulligan trademark. In the catchy tune "Idol Gossip," all the horns play the same melody line together; later, the flute and baritone sax contrast the octaves between them by trading fours.

While the arrangements are superb, they do not overshadow the individual playing. Randy Brecker, in particular, is very crisp on trumpet, while his flugelhorn solo on "North Atlantic Run" flows like melted butter down a bun. Ted Nash's flute flutters like a tropical bird on several numbers, often flirting with Strayer's contrasting baritone, and John Mosca's trombone lead on the evocative ballad, "Tell Me When," sounds (no kidding) like Chet Baker's mournful and vibratoless voice.

You needn't be a Gerry Mulligan fan to enjoy this disk, although I doubt there are music lovers who are not Mulligan fans. Indeed, the Mulligan compositions presented here are not his best known. ("North Atlantic Run" is the only one I recognized in advance.) Every tune, however, offers the wit, intelligence and toe-tapability associated with his better known works. The bonus is that every tune also offers the special touch of Kerry Strayer and his Septet.

Gerry Mulligan made giant contributions to music. In this tribute, Kerry Strayer has started to make some of his own.

-- Gregg Ottinger

(The scheduled release date for this CD is Oct. 6. There will be a release party at The Blue Room, 18th & Vine, on Thursday, Oct. 15, 7:00 to 11:00 p.m. -- Ed.)

Doug Talley Quartet
NIGHT AND DAY
Serpentine #079802

Personnel: Doug Talley, tenor sax; Wayne Hawkins, piano; Tim Brewer, bass; Keith Kavanaugh, drums; Karrin Allyson, vocal (track 4)

Tracks: I Love You, All of You, Potatoes and Gravy, So In Love, Love For Sale, I Concentrate on You, Night and Day, Transcending, What Is This Thing Called Love, It's Alright With Me, Everytime We Say Goodbye

Recorded June 29-July 1, July 19-20, 1998, at BRC Studios, Kansas City, MO; Bill Crain, engineer.

Those who liked the Doug Talley Quartet's first release, Town Topic (and who didn't?) are going to love their latest release Night and Day. In this work, which is a salute to the music of Cole Porter, Talley doesn't stray from the successful formula of the first CD: familiar tunes with expertly performed, imaginative arrangements. Compared to the group's first offering, however, this is a more mature recording, each performer giving impeccable performances throughout, elevating the product to a level associated with name artists on major labels.

The sound of the recording is magnificent, and yet another excellent product from Bill Crain's BRC studio. Listing the stand-out cuts is a daunting and subjective task. Karrin Allyson graces "So In Love," typically lifting up the song and arrangement rather than attempting to dominate it. The quasi-New Orleans 7/8 treatment of "What Is This Thing Called Love" works impossibly well. Bassist Tim Brewer's song "Transcending" is a beautiful waltz with the effortlessly delicate drumming of Keith Kavanaugh giving it breath and dimension. Through the entire CD, Tim is given adequate room to display his rich tone and command of his instrument.

Over the years, pianist Wayne Hawkins has developed an uncanny harmonic sense, and this is in strong evidence throughout this recording. He is lyrical or aggressive, whatever the music requires. Of course, leader Doug Talley's saxophone is its usual graceful, elegant self, reflecting his persona. His tone can be muscular, if needed, but is always restrained and never abrasive.

pecial mention must be made about the drumming of Keith Kavanaugh. On cut after cut, his playing is dazzling and complex, yet it seems effortless, perfectly supporting the music, and never bending it to his will.

This album is more than a fine addition to the local jazz catalogue. It proves that Kansas City is truly a jazz center, with a diverse group of artists of obvious and significant depth.

-- Doug Auwarter

(There will be a CD release party for this album at The Blue Room on Thursday, Oct. 8, 7:00 to 11:00 p.m. -- Ed.)

RETURN TO OCTOBER/NOVEMBER 1998 MAIN INDEX

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






	Search our site:		Arch Martin/Ed Dix ONE MORE TIME!! Warren Durrett presents "Two Guys from Kansas City" Letter D Productions Personnel: Arch Martin, trombone; Ed Dix, tenor saxophone; Paul Smith, piano; Bob Bowman, bass; Tommy Ruskin, drums Tracks: A&J Express, The Days of Wine and Roses, Body and Soul, America the Beautiful, Back at the Chicken Shack, Pretty Song, Jive at Five, My Foolish Heart, Portia Faces Life, The Second Time Around, Don't Blame Me, CC and Water Recorded March 2-3, 1998 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. OK, students, do any of you remember Benny Green? No, not Benny Green the contemporary pianist, Benny Green the pioneer bop trombonist. I know at least one person who does. Arch Martin. The wryly humorous commentary that Arch's playing delivers on this CD clearly bears Benny's influence. But it's filtered and refined into Arch's unmistakable style. You get big points if you sensed Green's influence on Martin, but Ed Dix's tenor antecedents are less difficult to spot. To my ear, Ed plays an interesting amalgam of Zoot Sims' swing and Al Cohn's ideas, excellently executed in a relaxed fashion. It isn't surprising that the whole session is relaxed, given the many years these five musicians have worked together in various combinations. What might be surprising, however, is the way Martin and Dix make the two Bob Brookmeyer originals, "Pretty Song" and "Portia Faces Life," sound like material they have been working with for years. "Pretty" only got its first performance earlier this year, and "Portia" was done by Bob specifically for this date. Most of the other tunes are familiar standards, and former Kansas Citian Dave Zoller contributed his "A&J Express" and "CC and Water." Why am I attracted to this kind of jazz? Because I've had it with players who try to show how many zillions of notes or strokes per minute they can deliver. There's none of that here, though all these players come with enormous chops and can do nearly anything on their instruments you could imagine. When you hear Arch and Ed render "Pretty Song," you are reminded that slower tempos impose a greater challenge on the artist to produce a thing of rich jazz expressiveness. And they do. Weaker improvisers would race up and down the scales and produce an avalanche of thirty-second notes to cover thin melodic inventiveness. Again, there's none of that here, just a fine sense of comfort throughout. I should also mention that most of the players on this CD are friends of mine. If you think that colors my judgment, so be it. Friends or no friends, however, I did have one negative reaction. A couple of the tunes don't end, they just fade out. The players repeat a lick while the engineer turns down the sound until there's silence. Sort of like watching "Soul Train" on TV. Musicians this good are capable of devising more interesting finishes. But, apart from that small bit of nitpickery, I recommend this CD strongly. One more thing. Kansas City owes a lot to Warren Durrett for making sessions like this possible. And that's to say nothing of the many other great things he has done for K.C. music over the past five decades. -- Bill Fogarty Kim Park THUNDERHORN The Music of Kim Park Thunderhorn Productions TP-7111 Personnel: Kim Park, alto, tenor, soprano, bari saxes, flutes; John Burr, Joe Cartwright, Frank Mantooth, piano; Bob Bowman, Gerald Spaits, Tom Kennedy, bass; Todd Strait, Gary Hobbs, drums; Danny Embrey, guitar; Ray DeMarchi, percussion; Karrin Allyson, vocal Tracks: Taking a Chance On Love, Pebble Beach, Amelia, Hide the Jar, Hemispheres, Just Friends, Star People, Domingo, Truth, Cool School, Only Trust Your Heart, Osage Vespers Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. If, as the Lakota quote on the inside cover states, "We are all related," then Kim Park is the family member who got the chops. From design and liner notes to the final cut, "Osage Vespers," (played a cappella on a Plains Indian flute), this epiphany pays tribute to the artist's Native American roots. This is not to say that Thunderhorn, eight years in the making, is monodimensional. To the contrary, it is a tapestry of eclectic originals interwoven with a few deserving standards each celebrating Park's peerless proficiency on the reeds. Among my favorites, the infectious (but tricky) unison head of "Hide the Jar," which dissolves into a medium blues featuring Park's snaky tenor slithering through those changes we all (think we) know and love. For the metrically challenged this could be subtitled, "Hide the Bar" (you'll get it when you listen). "Amelia," (like "Hide the Jar," a Park original) is a haunting monument to the late aviatrix complete with a bridge that doesn't go where you think it might (neither did her plane). And there's the refreshingly slow and reflective "Just Friends," wherein Park stretches each note/idea/line to its maximum prosaic potential. Todd Strait's alternating rhythmic beds provide a fertile foundation for Park's introspective soprano as it pulsates with and probes through each major, dominant, minor feature of "Hemispheres" (both sides of an issue). "Cool School" is introduced with the foreground bass of Bob Bowman. This attitude piece boasts characteristically well-placed passages and punches, never better executed than with/by Park's alto. You'll also enjoy Joe Cartwright's way-too-hip trip to the vintage repository. Park's notoriously facile flute challenges the chromatics of a Spirit-inspired waltz, "Star People," as well as Vince Guaraldi's capricious "Pebble Beach." He doesn't need (nor choose) to quote recklessly but you'll find some clever ones throughout, e.g. a ripple of "Willow Weep For Me" within the aforementioned "Pebble Beach" and a bite of "Scrapple From the Apple" hidden inside the hard driving samba, "Domingo," another Park composition, this one a kickin' tongue and lung alto tour de force. Karrin Allyson's pure and gentle vocal prelude sets up an intimate yet powerful interplay between voice, alto and piano (followed by their respective solos) on Carter/Cahn's "Only Trust Your Heart." Mostly local heavyweights comprise the ensemble and they contribute mightily. There are too many great solos to recount but special mention goes to Bowman's take on "Amelia," Cartwright's quasi-classical strains traversing "Star People," and any/all of John Burr's choruses. According to an ancient Lakota proverb, "He who purchases that which takes eight years to complete will be immeasurably blessed." O.K. I said it, but it's true. -- Carol Comer Dave Stephens Swing Orchestra SWING OUT! DS-16188 Personnel: Dave Stephens, vocals, marvinizer; Russ Long, piano, vocals; Bram Wijnands, Milt Abel, bass; Rod Fleeman, guitar; Jurgen Welge, drums, vocals; Steve Patke, clarinet, tenor and soprano saxes, flute; Marvin Hart, trombone; Jay Sollenberger, trumpet; "Washboard" Chaz, washboard Tracks: It Don't Mean a Thing (If It Ain't Got That Swing), 8, 9 and 10, Swinging On a Star, Renessa, Steppin' Out (With My Baby), I Wanna Be Like You, Is You Is or Is You Ain't (My Baby), Unavoidably Blue, Please Don't Talk About Me (When I'm Gone), Wrap Your Troubles in Dreams, Better Than This, Sway, Hit That Jive, Jack Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. Much of Kansas City knows the Dave Stephens Swing Orchestra from its regular gigs at The Hurricane, 210 at Fedora and 39 on Main. Now fans new and old have the opportunity to pick up the band's new (and first) CD, Swing Out! No need to wait for those live gigs anymore; on this album you can hear the songs they do so well at the clubs anytime you wish. This CD is, in fact, much like hearing the band live. It's one big, swinging, always-fun, always entertaining production. Beginning with an introduction by somebody who sounds suspiciously like Dan Ackroyd (surely it isn't, but one nevah knows, do one?), the band moves high speed into "It Don't Mean a Thing If It Ain't Got That Swing." (Swing dancers reading this are already starting to move at just the thought, I'm sure of it...) Old standards like "8, 9 and 10," "Swinging on a Star," and "Hit That Jive, Jack" plus several originals from Stephens and company also make this a timely CD, what with the swing craze again in high gear. Of course, Dave's been doing his swing thang for some time now (does that mean he is behind or ahead of his time?...), and here he pays homage to the big band sounds that came before today's '90s kids even knew of the existence of swing. Dave's "Renessa" is an Italian-style love song, and "Unavoidably Blue" and "Better Than This" were co-written with KC pianist Russ Long. "Unavoidably Blue" evokes visions of a couple alone on a smoky dance floor at closing time with the bar help putting up the chairs. "Better Than This" is a solid swing tune with that again-popular swing sound. There are also a couple of surprises. "Steppin' Out (With My Baby)" goes as far as to replicate a scratched up 78 toward the song's end, a nice, authentic touch. And "Please Don't Talk About Me When I'm Gone" brings to mind the sound of Rudy Vallee's megaphone stylings of the '30s. Additional songs include "I Wanna Be Like You," "Is You Is or Is You Ain't (My Baby)," "Wrap Your Troubles in Dreams (and Dream Your Troubles Away)" and "Sway." Each are vintage Dave Stephens and gang. By the way, that "gang" includes an impressive lineup of Kansas City musicians. There's Russ Long (piano and vocals), Bram Wijnands (bass), Milt Abel (also on bass), Rod Fleeman (guitar), Jurgen Welge (drums and vocals), Steve Patke (clarinet, tenor and soprano sax, flute), Marvin Hart (trombone), Jay Sollenberger (trumpet) and "Washboard" Chaz on, of course, the washboard. All with Dave Stephens leading the way on vocals and "marvinizer." (Jurgen Welge came up with this term to describe Dave's unique use of Marvin Hart's trombone mute. See "Rudy Vallee" above.) On Swing Out! the Dave Stephens Swing Orchestra does what it does best -- it delivers the sounds of swing, Kansas City style. If you're looking for a lively -- and swinging -- CD that is great fun start to finish, this is one for your collection. -- Vanessa Barnard The Kerry Strayer Septet JERU BLUE A Tribute to Gerry Mulligan Palmetto Records Personnel: Kerry Strayer, baritone and soprano saxophone; Randy Brecker, trumpet, flugelhorn; Ted Nash, tenor saxophone, flute; John Mosca, trombone; Ted Rosenthal, piano; Dean Johnson, bass; Ron Vincent, drums Tracks: Jeru Blue, Rio 1, Tell Me When, Festive Minor, Dragonfly, Oh, Mr. Sauter? Yes, Mr. Finegan?, Night Lights, North Atlantic Run, Idol Gossip Recorded March 13-14, 1997 at Systems Two Recording, New York, NY; Mike Marciano, engineer. The list of players who have been able to coax swinging jazz from that perplexing piece of plumbing called the baritone saxophone is short. There was Harry Carney of Duke Ellington's orchestra, Jack Washington of the Basie band, Serge Chaloff of the Woody Herman reed section known as the Four Brothers, and Pepper Adams of the Thad Jones-Mel Lewis Orchestra, but none of them had many opportunities to solo. Leo Parker could play bop on the thing, but he didn't live long enough. Hamiet Bluiett does something totally different with it. And, of course, there was Gerry Mulligan, the man who expanded by miles (no pun intended) the definition of the instrument and showed us it could be light and lyrical. It is time to add a new name to the list. Kerry Strayer can swing with the best of them. While this recording is indeed worthy homage to Gerry Mulligan, it is also a fine piece of playing in its own right. Although Kerry Strayer has been a fixture of the Kansas City jazz performance and education scenes for some time, this is only his second CD (after Kerry Strayer & The New Kansas City 7: Why Not Now?). This time, he reveals himself to be a full-fledged Mulliganiac, surrounded not just by Mr. Mulligan's compositions, but also by his sidemen. All the songs except one are Mulligan tunes (the exception, "Jeru Blue," is a Strayer original in tribute to the Master) and the rhythm section (Ted Rosenthal, Dean Johnson and Ron Vincent) is three-quarters of the last Gerry Mulligan quartet. The other members of the septet, Randy Brecker, Ted Nash and John Mosca, are all pedigreed players. Together they have produced a recording and tribute that is noteworthy in every sense of the word. In the hands of a capable arranger -- and Kerry Strayer is that and more -- a septet is a wonderful musical vehicle. It can offer the fullness of a big band, as well as the improvised solos of a small combo, plus rhythmic riffs or walls of support behind the solos, to which neither the smaller nor larger ensemble is well suited. For the septet to achieve this potential, both the arrangements and the implementation must be tight. Here, they are. We knew from his first CD and his live performances that Kerry Strayer could play. Now, we know he, like Gerry Mulligan, is a sophisticated, dynamic and versatile arranger. For example, the opening tune, "Jeru Blue," begins with Kerry's baritone alone over a brushed drum. Later lines feature the flute and bass playing the same melody. "Festive Minor" offers the baritone sax and trumpet in a call and response, followed by counter melodies, a Mulligan trademark. In the catchy tune "Idol Gossip," all the horns play the same melody line together; later, the flute and baritone sax contrast the octaves between them by trading fours. While the arrangements are superb, they do not overshadow the individual playing. Randy Brecker, in particular, is very crisp on trumpet, while his flugelhorn solo on "North Atlantic Run" flows like melted butter down a bun. Ted Nash's flute flutters like a tropical bird on several numbers, often flirting with Strayer's contrasting baritone, and John Mosca's trombone lead on the evocative ballad, "Tell Me When," sounds (no kidding) like Chet Baker's mournful and vibratoless voice. You needn't be a Gerry Mulligan fan to enjoy this disk, although I doubt there are music lovers who are not Mulligan fans. Indeed, the Mulligan compositions presented here are not his best known. ("North Atlantic Run" is the only one I recognized in advance.) Every tune, however, offers the wit, intelligence and toe-tapability associated with his better known works. The bonus is that every tune also offers the special touch of Kerry Strayer and his Septet. Gerry Mulligan made giant contributions to music. In this tribute, Kerry Strayer has started to make some of his own. -- Gregg Ottinger (The scheduled release date for this CD is Oct. 6. There will be a release party at The Blue Room, 18th & Vine, on Thursday, Oct. 15, 7:00 to 11:00 p.m. -- Ed.) Doug Talley Quartet NIGHT AND DAY Serpentine #079802 Personnel: Doug Talley, tenor sax; Wayne Hawkins, piano; Tim Brewer, bass; Keith Kavanaugh, drums; Karrin Allyson, vocal (track 4) Tracks: I Love You, All of You, Potatoes and Gravy, So In Love, Love For Sale, I Concentrate on You, Night and Day, Transcending, What Is This Thing Called Love, It's Alright With Me, Everytime We Say Goodbye Recorded June 29-July 1, July 19-20, 1998, at BRC Studios, Kansas City, MO; Bill Crain, engineer. Those who liked the Doug Talley Quartet's first release, Town Topic (and who didn't?) are going to love their latest release Night and Day. In this work, which is a salute to the music of Cole Porter, Talley doesn't stray from the successful formula of the first CD: familiar tunes with expertly performed, imaginative arrangements. Compared to the group's first offering, however, this is a more mature recording, each performer giving impeccable performances throughout, elevating the product to a level associated with name artists on major labels. The sound of the recording is magnificent, and yet another excellent product from Bill Crain's BRC studio. Listing the stand-out cuts is a daunting and subjective task. Karrin Allyson graces "So In Love," typically lifting up the song and arrangement rather than attempting to dominate it. The quasi-New Orleans 7/8 treatment of "What Is This Thing Called Love" works impossibly well. Bassist Tim Brewer's song "Transcending" is a beautiful waltz with the effortlessly delicate drumming of Keith Kavanaugh giving it breath and dimension. Through the entire CD, Tim is given adequate room to display his rich tone and command of his instrument. Over the years, pianist Wayne Hawkins has developed an uncanny harmonic sense, and this is in strong evidence throughout this recording. He is lyrical or aggressive, whatever the music requires. Of course, leader Doug Talley's saxophone is its usual graceful, elegant self, reflecting his persona. His tone can be muscular, if needed, but is always restrained and never abrasive. pecial mention must be made about the drumming of Keith Kavanaugh. On cut after cut, his playing is dazzling and complex, yet it seems effortless, perfectly supporting the music, and never bending it to his will. This album is more than a fine addition to the local jazz catalogue. It proves that Kansas City is truly a jazz center, with a diverse group of artists of obvious and significant depth. -- Doug Auwarter (There will be a CD release party for this album at The Blue Room on Thursday, Oct. 8, 7:00 to 11:00 p.m. -- Ed.) RETURN TO OCTOBER/NOVEMBER 1998 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.