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 Karrin Allyson IN BLUE Concord Jazz CCD-2106-2 Personnel: Karrin Allyson, vocals; Danny Embrey, guitar; Mulgrew Miller, piano, Fender Rhodes; Peter Washington, bass; Lewis Nash, drums; Steve Wilson, alto & soprano saxophones Tracks: Moanin'; Everybody's Cryin' Mercy; Long as You're Living; The Meaning of the Blues; My Bluebird; Hum Drum Blues; How Long Has This Been Going On?; West Coast Blues; Evil Gal Blues; Blue Motel Room; Bye Bye Country Boy; Love Me Like a Man; Angel Eyes Recorded February 11-14, 2002 at Sear Sound, New York, NY and March 19-20, 2002 at G Studio Digital, Studio City, CA; Josiah Gluck, engineer. Remember those old LPs with the great liner notes? You read them and learned the story of the album. Karrin Allyson's In Blue brings back that feeling. Allyson writes about this new CD better than many liner writers would have. And the story is well told. While I will provide this commentary of In Blue, I suggest each listener compose his or her own review while reading Allyson's "whole story." "Moanin'" is a tune I've not heard enough of in recent years. And it's a pleasure to listen to Allyson and her group do it with such class. This track provides a nice introduction to the CD, and all band members have a chance to shine. In the notes, Allyson states that the lyrics to "Everybody's Cryin' Mercy" are "timeless and timely." Think "9/11" and "WorldCom" and you'll know what she means. "Long as You're Living" is done in a catchy 5/4 and doesn't fit what you would expect on a blues album. But it fits Allyson's intent for this CD. "This album is not a 'traditional blues album,' but rather it's a collection of tunes I love, that have to do with having the blues -- no matter what the form." "The Meaning of the Blues" is possibly the most emotional track on the album, Allyson's soft and silky treatment warms already passionate lyrics, and Steve Wilson's soprano sax etching along with the gentle touch of pianist Mulgrew Miller make you want to take a sip of nostalgia wine. Vocal storytelling is an Allyson gift. And Tommy Flanagan would be pleased with her blending of his melody lines and Jay Leonhart's lyrics on "My Bluebird." A hardcore blues theme, "Hum Drum Blues" will leave you with anything but a hum drum feeling. There's a hard swingin' solo by Miller and a heavy shuffle from drummer Lewis Nash that takes this tune to places it probably hasn't been for a while. On "How Long Has This Been Going On," Allyson's sensual and airy interpretation of the line "...kiss me once and then once more..." is uttered like a true wish. Add masterful solos by Miller on piano and Peter Washington on bass, and the result gives the listener chills. "West Coast Blues" offers Allyson the chance to personalize the song's lyrics start to finish. Listen for the Wes-influenced guitar of Danny Embrey and Miller's craftiness on the Fender Rhodes. A recent live performance review by L.A.'s Paula Edelstein best describes the wallop "Evil Gal Blues" can pack: "(Allyson) closed with a raunchy blues number, "Evil Gal Blues." This is one you don't want to miss hearing her sing. Bringing shouts from the audience, she got the crowd into the lyrics and her brassiness. Nothing vulgar or sluttish, but downright believable. The crowd exploded as she left the stage." On a moody interpretation of Joni Mitchell's "Blue Motel Room," a song about the lonely road life, Allyson makes you feel those times when you just couldn't get to where you really wanted to be. "Bye Bye Country Boy" is a great "what if" story. And how well the fantasy is told! This Blossom Dearie original is just a lot of fun. For "Love Me Like a Man," Allyson says, "I asked Danny, Peter and Lewis to imagine that we were in the raunchiest of blues bars. I wanted a raw sound -- and we got it." The blues crowd will love this one. On a superb Embrey arrangement, Allyson sensually caresses the classic Matt Dennis standard, "Angel Eyes." Breezy ballad scatting only deepens the haunting mood, and with Wilson on soprano, every note counts. Reviews of recent Karrin Allyson concerts and recordings seem to agree that she takes risks others will not. None other than Don Heckman of the L.A. Times has written about Allyson's " ... intuitive sense of what material best fits her style." In Blue showcases quality material that is well suited to Allyson's always-evolving style... risks and all. -- Dean Hampton Rick Holland/Kerry
Strayer Quartet Personnel: Rick Holland, trumpet, flugelhorn; Kerry Strayer, baritone saxophone; Bob Bowman, Ed Fedewa, bass; Todd Strait, Larry Ochiltree, drums; special guest, Frank Mantooth, piano Tracks: Bernie's Tune; KAS's Blues; 3625 Central/Out of Nowhere; Count's Place; Speak Low; Mr. Jones; Three and One; In a Sentimental Mood; Swing House Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer/Arcadia Recording, Kalamazoo, MI; John Stiles, engineer. Kerry Strayer from Kansas City and Rick Holland from Michigan have joined forces to show there's no place like home in the American heartland for West Coast jazz. Speak Low, sweet instruments: Cool is alive and well. After pioneering the landmark Birth of the Cool with Miles Davis, baritonist Gerry Mulligan traveled from New York to Los Angeles in 1952. There he met trumpeter Chet Baker and launched an innovative pianoless quartet. A quietly conversational style highlighted their brief but historic relationship. Now, half a century later, Strayer and Holland keep the conversation going. Speak Low leads with "Bernie's Tune," which helped make the Mulligan-Baker collaboration a major draw. Here it sets the stage for sixty minutes of muted, laidback sounds evoking chosen influences yet conveying distinctive voices. "KAS's Blues," a sterling Strayer original, follows. His other composition, "3625 Central," is nicely fused on a single track with his arrangement of Baker's first recording, "Out of Nowhere." A second historical thread runs through the album. Basie and the Kansas City 7 recorded "Count's Place" in 1962. Strayer's regular group is the New Kansas City 7, yet the irony of the present quartet effort is a Basie standard sans piano. Basie's septet cornetist was Thad Jones, whose "Three and One," recorded with two brothers in 1958, appears here. Strayer and Holland speak with one beautiful voice at the front and back of "Mr. Jones," composed by Keiko Jones for her husband, Elvin, Thad's younger brother and celebrated drummer. The final track, Mulligan's "Swing House," joins "Mr. Jones" as favorite selections from this vantage point. Strayer, whose Jeru Blue paid tribute to Mulligan, brings a similarly lighter sound to the baritone, playing with the agility of an altoist. Holland is as confident, direct, and honest as ever. Ed Fedewa and Larry Ochiltree appear from Holland's regular quartet (and his acclaimed albums, Positive Settings and There Will Never Be Another You) to play three selections without piano. Bob Bowman and Todd Strait from Kansas City play the other six selections, four of which include special guest Frank Mantooth. His piano contributions are uniformly strong, illustrated by exemplary work on the Kurt Weill title track and Ellington's 1930s "In a Sentimental Mood." Speak Low is finished, mature jazz, yet full of sounds my fifteen year-old son truly appreciates. It may be the dog days of summer, but a Cool breeze is starting to blow. -- Tom Fredrick Kevin Mahogany Personnel: Kevin Mahogany, vocals; James Weidman, piano; Dave Stryker, guitar; Melissa Slocum, bass; Charles Haynes, drums; Jon Faddis, trumpet/flugelhorn; Don Alias, percussion; Gregory Clark, Todd Johnson, Gerald Trottman, Peter Eldridge, additional vocals Tracks: Signed, Sealed, Delivered, I'm Yours; Pride and Joy; I Can't Get Next to You; Neither One of Us (Wants to Be the First to Say Goodbye); The Tears of a Clown; Reach Out, I'll Be There; My World Is Empty Without You; Never Can Say Goodbye; She's Out of My Life; The Hunter Gets Captured By the Game; Just My Imagination (Running Away With Me) Recorded October 25-27, 2001 at Sear Sound, Studio C, New York City; engineer, Michael Bishop. In a departure from his 1998 recording, My Romance, the concept of Kevin Mahogany's Pride & Joy is that of a return to a segment of the songbook of his youth (and some of ours). Specifically, Motown. The artist is faced with several hurdles when engaging in a concept album such as Pride & Joy, here utilizing tunes from a popular genre. Unless he intends it to be a pure cover album, the artist normally would invoke changes in already-familiar instrumentation, style and tempo. These changes then require the listener to exert effort to allow these foreign arrangements of familiar tunes to sink in. The first track is an a cappella vocal quintet arrangement of Stevie Wonder's "Signed, Sealed, Delivered." Later in the disc, the same vocal grouping is utilized for "Reach Out." Both have an initial feel that owes much to a South Philly street group, but the interpretation becomes more complex utilizing tempo changes, modulations and other arranging surprises that are more akin to the New York Voices than to the Manhattan Transfer. "I Can't Get Next To You" benefits greatly from the guitar solo and comping of Dave Stryker, the arranger of the track. The performing of some covers requires more moxie than others, especially a song pretty much owned by Gladys Knight. "Neither One of Us" may disappoint some listeners because of a lack of focus and groove. Two of the tracks involve Mahogany with an instrumental quintet and sextet respectively. Included in these groups is brassman, Jon Faddis. In the jump/title tune, "Pride and Joy," there is some amusing interplay between Mahogany and Faddis. Blessedly, Faddis' improvisations have matured during his now truncated tenure as musical director of the Carnegie Hall Jazz Band and his muted solos and responses here do not include the annoying Gillespie-clone phrases that plagued much of his previous work. Conversely, a song closely associated with Michael Jackson, "She's Out of My Life," possibly deserves rather than contains the hook because of an inability to overcome historical imprinting on the part of the listener, or possibly because the original tune just wasn't that good to begin with. A dark "My World Is Empty Without You" is performed with bass and percussion. And "The Hunter Gets Captured By the Game" politely swings. But "Never Can Say Goodbye" comes up short because it mimics rather than interprets the original. The most engaging moments on Pride & Joy involve Mahogany in a duo situation. Both "Tears of a Clown" with Stryker on guitar and "Just My Imagination" with Weidman on piano, are slow, sparse arrangements. The space allows for appreciation of Mahogany's lyrical ability. In fact, these tunes alone may be sufficient reason to purchase the disc. Overall, the level of musicianship
on Pride & Joy is very good and, as with most Telarc releases,
the production is some of the best in the industry. Although not a
perfect outing, Mahogany benefits from this new relationship and deal. See "Editor's Note" on page 41 The Scamps Personnel: Lucky Wesley, acoustic bass, vocals; Arthur Jackson, saxophones, vocals; Rusty Tucker, drums, trumpet, vocals; Coots Dye, piano, vocals; Earl Robinson, vocals Tracks: How High the Moon; Mood Indigo; September In the Rain; In a Mellow Tone; Roll 'Em Pete; Stormy Monday Blues; Red Dress; Solitude; L-O-V-E; After Hours; Kansas City Recorded December 10, 1984 at Soundtrek Studio, Kansas City, MO; Ron Ubel, engineer. Remixed December 12, 2001 at Soundtrek Studio. In sound, style and selection, The Scamps are one of the last links to the golden era of Kansas City jazz. And this release, recorded in 1984, was a long time coming. If you count yourself among their legion of fans, it was well worth the wait. At the very least, it's a lot of fun. At most, it is an exemplary slice of Kansas City jazz history. Ensemble vocalese introduces "How High the Moon," which showcases the joy-filled tenor sax of Arthur Jackson as well as a couple of nice piano choruses from the late Coots Dye. "Mood Indigo" is the Lazi-Boy version -- recline and relax. Lucky Wesley's vocal plops you down on the front porch on a hot Saturday afternoon. You can picture the rest of the guys rocking and fanning as they sing. Dye's elegant, tasty piano frames Wesley's solo and the ensemble reminds us that vocal accompaniment is a real art form. An exuberant "September In the Rain" again features solos by Jackson and Dye. Just try to keep your toes from tapping on this one. The first instrumental-only cut, "In a Mellow Tone," is a showpiece for Jackson and Dye, with drummer Rusty Tucker contributing some smooth four-bar choruses. Founding member and legendary vocalist Earl Robinson wails on "Roll 'Em Pete," which includes some saucy lyrics: "I'm goin' to Chicago to get my hambone boiled; these Kansas City women gonna let my hambone spoil." Jackson and Dye frolic once more on this Pete Johnson/Joe Turner blues classic. Wesley has the vocal on "Stormy Monday," complimented by Jackson's soulful tenor weaving in, out, and around the lyrics. Continuing in the blues tradition, the impish Rusty Tucker is the perfect choice to vocalize "Red Dress," and all-out romp during which you may well be tempted to roll back the rug and dance. "Solitude," by contrast, is a sorrowful lament sung by Robinson and supported beautifully by Tucker's muted trumpet along with choral backing. "L-O-V-E" brings us back to happier times, and what a pleasure it is to hear Coots Dye sing as well as play. Arthur Jackson's bari sax is a treat replete with effortless quoting and smooth repartee. "After Hours" is a reminder of Dye's piano mastery, his rolling right hand a testament to the style he helped establish. What more fitting closer than "Kansas City," with a unison chorus and sax solos. This is the Kansas City jazz sound, the one for which we're famous, the real deal performed by those who were an integral part of it and remain true to it to this day. Proceeds from sales of Timeless benefit education and treatment programs at Marillac Center. To order, call 816-508-3311 or visit the web site at www.marillac.org. -- Dianne Gregg Guest contributor Dianne Gregg is a former jazz announcer for KCUR-FM and, along with educator/vocalist/pianist/JAM writer Carol Comer, is one of the founders of the Women's Jazz Festival.
Personnel: Bobby Watson, alto & soprano saxophones; Orrin Evans, piano; Curtis Lundy, bass; Gregg Skaff, guitar; Montez Coleman, drums Tracks: Stanky P; Faith in Action; We Fall Down; Thank You; Why Not; Live & Learn; River Jordan; Postlude; Landmarks Lost; I've Gotta Be Me Recorded September 25-26, 2001 at Maggie's Farm, Pipersville, PA; A.T. Michael McDonald, mastering engineer. Raised in Kansas City and Lawrence, KS, tempered and tested in Miami and New York City, and welcomed home again to KC like a prodigal son, Bobby Watson is a figure of international stature with Midwestern roots. On his latest release, Live & Learn, he teams up with Orrin Evans, Curtis Lundy, Wichita-native Greg Skaff, and St. Louis-native Montez Coleman, to perform a number of original compositions and other pieces. At first hearing, Live & Learn hits at gut level. From "Stanky P" to "River Jordan," it's music that makes you tap your foot, smile, nod your head, sing along, shout for joy, get up and dance. It sounds as effortless and loose as a Saturday night house party, but the good time had by all is only possible because of an underlying artistry, craft, virtuosity and imagination, and a knowledge of harmony and rhythm that have taken a lifetime of living and learning to hone and perfect. Watson makes it sound easy. He takes chances all over the place, stretching the form, turning things inside out, experimenting, reaching deep, confronting, provoking danger, but somehow managing to communicate and entertain on a very basic level at the same time. His sound is totally original, evolved out of church hymns, modal exploration, gospel, free jazz, big band swing, R&B, and bebop. It's all in there. If you're struggling with the ever-elusive definition of "jazz," you may want to talk to Bobby Watson. He has something to say. Listen to "Thank You." The melody starts as if the horn were testifying in front of the congregation at a country church, then spirals outward into fearless and powerful improvisation, exploding a traditional spiritual into something surprising and new, before returning to its humble down home beginnings. "Postlude," on the other hand, is a beautiful ballad, a guitar-sax duet with traces of Johnny Hodges. "Why Not" is sinewy and supple, providing lots of open space for an extended alto solo and some tasteful guitar breaks. "Live & Learn," the title track, has an urban jazz flavor, propelled by soulful riffs and melodic counterpoint. "Landmarks Lost" is a passionate cry over a contemporary Latin beat. The final tune, "I've Gotta Be Me," usually associated with Sammy Davis, Jr., is a personal statement of philosophy that explains itself. Outside, inside, old school, post modern. This recording covers it all. Watson's unique and compelling voice on the alto expresses simplicity and blues purity, complexity and abstraction, elegance and sophistication, rawness and confession. If you're already a fan or a friend, you will enjoy accompanying Bobby Watson on the next leg of his musical journey. If you've never heard him before, prepare to be moved. Live and learn. Amen to that. --Tim Cross Tim Whitmer Personnel: Tim Whitmer, piano; James Albright, acoustic/electric bass, tambourine; Jim Mair, saxophones; Jurgen Welge, drums, percussion; Chico Battaglia, congas, percussion; Rod Fleeman, guitar; Rusty Tucker, Myra Taylor, vocals; Lucky Wesley, bass; Arthur Jackson, tenor sax; Steve Molloy, trumpet; Jeff Hamer, trombone Tracks: Player Piano; Sunny Side of the Street; On the Water's Edge; My Romance; What a Wonderful World; Moten Swing; Brookside Boogie; Over the Rainbow; The Preacher; Samba de Orfeo; Dancing with Theresa; When the Saints Go Marching In Recorded and mixed at Airborne Audio Productions, Don Miller, engineer. Beginning with the bebop era of the forties and cycling through the late sixties, a portion of the jazz audience complained of a perceived solipsistic attitude exhibited by a segment of jazz performers. Some opined that this contributed to the exit of Jazz/Swing as a popular genre. Their complaint, in part,
derived from a perception of the loss of the ability to entertain
an audience, as well as the music's loss of Pianist Tim Whitmer, has recorded a CD titled Kansas City Standard Time that may engender some of that same discussion. Mr. Whitmer, as outlined in the fine liner notes by Chuck Haddix, performs weekly at the Phoenix Piano Bar & Grill, as well as monthly at the Unity Temple on the Plaza. What is certain is that Whitmer, in choosing his group of sidemen, has provided an opportunity to capture performances by several of the royalty of the KC jazz scene. These include vocalists Myra Taylor and Rusty Tucker who solo on "Sunny Side of the Street" and "What a Wonderful World" respectively, and duet on "When the Saint's Go Marchin' In." Two members of the legendary group The Scamps also perform, including Lucky Wesley walking his bass through a trio rendition of "My Romance" and Art Jackson crafting an ebullient tenor solo on an Ernie Wilkins small band arrangement of "Moten Swing," one of KC's anthems. The stated purpose of Whitmer's CD is to "capture the elusive spirit of Kansas City jazz," but it is the historical presence of these performances that creates the value of this album. The balance of the CD is comprised of standards as well as original compositions. The standards include Horace Silver's "The Preacher," with an alto solo by Jim Mair, and Luis Bonfa's "Samba de Orfeo" from Camus' motion picture "Black Orpheus." Chico Battaglia and Jurgen Welge are featured on percussion. "Brookside Boogie" is an original jump tune with punctuated section work by Mair, Jeff Hamer on trombone and Steve Molloy on trumpet. James Albright and Rod Freeman complete the rhythm section. "Player Piano" is an appropriate opener that sags a bit during the solo choruses. And neither "On the Water's Edge" nor the solo opus "Dancing with Theresa" seem to fit the premise of the album. Still, this is a CD that encapsulates the performances of several legacy KC players and represents a segment of the KC jazz scene. It will be best appreciated by those who have a regard for historical roots, and who also enjoy being entertained by lively after-work jazz. -- Michael Ragan
We have admittedly (and unintentionally) pushed the envelope a bit this time. And we welcome reader feedback, reaction and rebuttal. Please send to: info@jazzkc.org or Editor/JAM, PO Box 36181, Kansas City, MO 64171. ****** COMING IN
THE OCT./NOV. 2002 JAM RETURN TO AUGUST/SEMPTEMBER 2002 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2002. All rights reserved. |
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