JAM: June/July 2003 Issue: For the Record

Paul Hofmann
NEW INVENTIONS
MHR Records
CD-13
Personnel: Paul Hofmann, solo piano

Tracks: Three Short Pieces (Sonatina, A Sad Song, Thirds for Paul); New Inventions: No. 1 in C; No. 2 in C minor; No. 3 in D-flat; No. 4 in C-sharp minor; No. 5 in D; No. 6 in D-minor; No. 7 in E-flat; No. 8 in E-flat minor; No. 9 in E; No. 10 in E minor; No. 11 in F; No. 12 in F minor; No. 13 in F-sharp; No. 14 in F-sharp minor; No. 15 in G; No. 16 in G minor; No. 17 in A-flat; No. 18 in G-sharp minor; No. 19 in A; No. 20 in A minor; No. 21 in B-flat; No. 22 in B-flat minor; No. 23 in B; No. 24 in B minor; Deceptive Resolution

Recorded August 12, 2002 (tracks 1-25) and August 22, 2001 ("Deceptive Resolution") at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

"...one's innate inventiveness, particularly when promoted (unleashed?), can lead to wonderful and surprising discoveries." -- Paul Hofmann

If we are what we play, then on his latest release, New Inventions, pianist/composer (and former Kansas Citian) Paul Hofmann unleashes an inquisitive, playful and musically integrated mind. Hofmann, a teacher and practitioner of what he calls "chamber jazz," performs 24 original piano solos, one for each major and minor sonority on the chromatic scale, and pays homage to both his traditional and modern musical heroes.

Each sequentially created piece has a personality all its own, and the sum total is a psychologist's and musicologist's delight -- a balance of form and function, script and style, left brain/right brain interweaving, if you will.

The "instant compositions" take their cue from the opening piece, an unpublished trilogy written by John Hofmann for son Paul in the early 1970s. "Three Short Pieces" begins with a Mozart-like sonatina, deepens to minor chordal extensions, and concludes with a brief, dissonant statement.

Echoing that device, each original tune begins simply and disarmingly. One can almost hear Hofmann's students (in his "Spontaneous Composition" class at the Eastman School of Music) saying, "I can do that!" Then, as if indicating the probable vs. the possible, the one-line melodies are quickly developed into an extrapolation of varying styles.

No. 10 (E minor) gives us a taste of Bartok in an upper register rhapsody, no. 6 (D minor) has Bach's signature intervallic movement and bass counterpoint, no. 20 (A minor) is an elegy to Beethoven. And so, the student (or listener) realizes the complexity and dedicated training and says, "If I work hard enough, it can be."

New Inventions is didactic knowledge of theory superimposed on the imagination of childhood, and the balancing act works. It's also Chopin, Debussy, and Rachmaninoff as Keith Jarrett or Bud Powell might do them.

This collection also begs the question: with which key do you most resonate? Is it the bluesy motif of C minor, the jarring abstraction of E-flat major? The elastic swing of F major, or the rubato lyricism of F-sharp?

As a bookend mirror to the rest of the CD, the treatment of Mike Metheny's "Deceptive Resolution" (from 1995's Street of Dreams on Altenburgh Records) transposes its minor to major modulation with an unusual stop-start "skipping the cracks" rhythm, changing the original tune's waveform structure into a fill-in-the-blanks Mensa quiz -- an inventive ending befitting of the theme.

Hofmann is clearly in love with the instrument. He plays the entire keyboard with fluidity and stability, having a solid, seasoned touch on the keys and a crisply unhesitant reach.

One may not always respond to his choice of staccato, exposed ending or hear the tonal extension from melody to harmony, but one always recognizes the invention beneath.

If improvisation is the accumulation of all one's experiences, Paul Hofmann has amassed a compendium of musical wealth.

And if we are what we listen to, may we all be so well-tempered.
-- Kim Gorman

Visit Paul Hofmann's web site at www.mhrrecords.com.
-- Ed.

Mike Melvoin
IT'S ALWAYS YOU
City Light Entertainment L.L.C.
Personnel: Mike Melvoin, piano; Phil Woods, alto saxophone, clarinet; Steve Gilmore, bass; Bill Goodwin, drums

Tracks: All or Nothing at All; Are You Going to Eat That?; Dawn Dance; Easy to Love; It's Always You; I Hear a Rhapsody; I'm Confessin'; But I Have To; This Is the Place; Come Rain or Come Shine; Whatever My Bianca Wants

Recorded September 2002 at Charlestown Road, Norton's Corner, NJ; Hank Cicalo and Paul Wickliffe, engineers. Produced by Mike Melvoin, David Basse and Hank Cicalo.

It would be hubris for most pianists (or any other instrumentalist) to record as a leader with Phil Woods in the band. Thelonious Monk got away with it, of course, but Phil was a youngster back then.

But Mike Melvoin has recorded with so many great artists, jazz, pop and otherwise (from Tony Bennett to the Jackson Five, not to mention television and movie soundtracks), marquee values may not have even entered his mind.

This CD is not so much a showcase of one artist with a supporting cast, as a showcase of an awe-inspiring quartet (or trio on the tunes where Woods lays out) with tons of interplay, and very balanced arrangements.

Phil Woods' longtime sides, bassist Steve Gilmore and drummer Bill Goodwin, no doubt contribute to this marriage of talents. They've been playing together longer than many musicians have been playing in their lives, and it shows. You can imagine some of the great quartets Woods has led; substitute Melvoin for, say, Hal Galper, you've got an idea of the sound -- except Woods doesn't play on all the tracks.

Also, Melvoin's voice is his own. At times reminiscent of Oscar Peterson, at other times Bill Evans, and sometimes even Monk. None of these influences is so overpowering as to make him sound derivative, merely well schooled in the musical vocabulary of the great jazz pianists.

Stand-out solos abound throughout, and it's hard to pick peaks and valleys among the tracks because the overall impression is so strong. Whether it's Woods' amazing bebop lines on "All or Nothing at All" or Gilmore's soulful bass solo on "Come Rain or Come Shine," there are no wasted notes and no dull moments.

The stylistic mix is very balanced as well, with bebop, medium swing, ballad, and Latin pieces all worked together. Some are standards like the aforementioned "All or Nothing at All," and "Easy to Love" mingled with Melvoin originals such as his answer to "Well, You Needn't," aptly titled "But I Have To." It's not an overlay on the changes to the Monk tune, but rather a unique composition that captures both the melodic and harmonic flavors of Monk.

And while many associate Phil Woods almost entirely with the alto sax, he also brings his clarinet into the session on "I'm Confessin.'"

All very tasty, and worth many listenings.
-- Rod McBride

Kim Park
JAZZ
Personnel: Kim Park, alto, tenor & soprano saxophones, flute; Joe Cartwright, John R. Burr, piano; Danny Embrey, guitar; Bob Bowman, bass; Todd Strait, Gary Hobbs, drums

Tracks: Half Past Thirty; Midnight; What is This?; Sugar; A.T.T.Y.A; I've Grown Accustomed; Sometime Ago; Cool School; Cherokee

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

Kim Park is one of Kansas City's finest jazz musicians, but you must work hard to hear him live, as he does not appear frequently. That makes his latest release that much more of a treat.

Jazz opens with a pair of Park originals. "Half Past Thirty" is a medium tempo 35-bar bopper (the last eight get a logical three bar extension) on which pianist John Burr makes his only appearance. "Midnight" features Park on soprano with a tone on the straight horn that may be on the "smooth" side, but it's the sax solo that picks up the intensity of this waltz. Todd Strait's cymbal work must also get some of the credit; bassist Bowman and keyboard man Cartwright both take their turns before Park restates the theme.

"What Is This?" (Thing Called Love) finds Park on alto and pianoless. Strait and Bowman absolutely burn in support, and Park takes advantage of the space to make this a wailer. You may breathe a few "whews" during his solo.

"Sugar" is followed by "A.T.T.Y.A" -- or "All the Things You Are" meets "Seven Steps to Heaven." You won't notice the hellish pace until Park takes his first chorus. Drummer Gary Hobbs takes some nice breaks before Cartwright gets a workout on piano.

It's no wonder this burner is followed with a ballad, the beautiful "I've Grown Accustomed" (To Your Face). It is apparent that Park has the same love for this fair lady that I do. It is a perfect ballad feature for his alto, followed by an unaccompanied Cartwright.

"Sometime Ago" is the feature for Park's flute. And after the original "Cool School," the CD finishes with "Cherokee" with Park just hinting at the theme, soaring through several fresh views of the bridge, and again taking advantage of pianoless space. Bob Bowman has some fun with the time during his turn, and Hobbs and Park trade fours before this highly recommended CD comes to a close.
-- Roger Atkinson

(Note: There will be a CD release concert for "Jazz" on Wednesday, June 4, at Unity Temple on the Plaza. Call 816-356-6224 additional information.)

Gary Sivils
SONGS FORGOTTEN IN THE MORNING
Personnel: Gary Sivils, cornet; Paul Smith, piano; Bob Bowman, bass; Todd Strait, drums; Hal Melia, tenor saxophone

Tracks: When Sunny Gets Blue; A Child is Born; St. Thomas; My Romance; Betcha By Golly Wow; Go-Go; The Meaning of the Blues; Autumn Leaves; The Rainbow Connection; It Could Happen to You; I Thought About You

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

Gary Sivils came under the spell of Miles Davis years ago, and there's nothing wrong with that. What's better is that Sivils didn't follow Miles from jazz into rock/fusion. That's especially evident on this CD.

One thing that is hard to understand is the CD's title. These are not songs to be forgotten. You already know most of them, and they are generally very well presented. You'll likely remember the treatments they receive very clearly for many mornings to come.

Sivils has four highly experienced and capable musicians at his disposal for this effort. The level of excellence from each is obvious. Everything the cornetist presents here is enhanced by their work. Though he's only on four of the 11 tracks, saxophonist Hal Melia offers lessons in how to build a solo that any jazz pro could absorb to good advantage.

What I like most about this CD is "Go-Go," which, for many years, was a set-ending tune for Miles Davis. Many jazz groups have used a set-ender like this -- a small phrase to play for perhaps two or three choruses while somebody speaks into the mike, names the musicians and tells the crowd they'll be right back. But sometimes, if the groove is good, the set-ender might extend for several more choruses. On this version of "Go-Go," we get over seven very fulfilling minutes! The total effect is unmistakably what Miles used to achieve in his pre-Bitches Brew period. I loved it.

What I didn't much like were the album's fade-aways ("When Sunny Gets Blue," "Betcha By Golly Wow"). It's like reading a book in which the closing sentence is repeated over and over in ever-lighter ink. You'd think they could have cobbled up some better endings.

But, overall, this is an excellent piece of work.
-- Bill Fogarty

Kerry Strayer Septet
featuring Gary Foster
MENTOR
Kerry Strayer Productions
CD-0301
Personnel: Kerry Strayer, baritone & soprano saxophone; Gary Foster, alto & tenor saxophone, flute, clarinet; Barry Springer, trumpet, flugelhorn; Earlie Braggs, trombone; Frank Mantooth, piano; Bob Bowman, bass; Todd Strait, drums; Gary Helm, percussion

Tracks: Saturday 10AM; Gaviota; A Flower is a Lovesome Thing; Sweet Lips; Siempre Me Va Bien; Don't Ask Why; Yardbird Suite; In Your Own Sweet Way; The Peacocks; I Hadn't Anyone Till You; Warne-ing

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

Before embarking for the Trojan War, Odysseus entrusted his son to the care of Mentor, a faithful friend. Some 2,700 years after Homer's Odyssey, the name is synonymous with the role of wise counselor and guide. It's a term apropos to the relationship between jazz saxophonists Gary Foster and Kerry Strayer.

Though a masterclass teacher in his own right, Strayer as a player is Telemachus to Foster's Mentor. Foster is a first-call studio musician. Kansas born and educated, he's been based in California since 1961 and serves as visiting professor at UMKC. His credits include a vast array of television and movie scores, including the recent Oscar-sweeping "Chicago," as well as renowned individual, group, and orchestral recordings. Twice weekly dance gigs at the Leavenworth VFW as a moonlighting teenager under the tutelage of an early mentor, Harold Stanford, provided an invaluable start to it all.

As arranger, Strayer achieves a rare conceptual consistency. Like Homer's epic poem, Strayer's musical tour de force reveals a coherent narrative structure. He unifies a remarkable variety of elements: An orchestrated combo with a straightahead style of play; both original compositions and standards; a legendary jazz landscape encompassing Basie, Bird, Brubeck, Ellington and Strayhorn; numerous contemporary influences and inspirations. It's all here and it all works, wrapped in nuanced charts and performed, with modest exceptions, on single takes.

Septet charter members Braggs and Springer and the Speak Low troika of Bowman, Strait and Mantooth each add all-star performances. The latter's stem-to-stern brilliance on piano is especially noteworthy. While his woodwind virtuosity graces every song, Foster's three compositions -- "Saturday 10AM," "Sweet Lips," and "Warne-ing" -- are leading tracks. The first, a stirring memorial to Dick Wright, the beloved radio voice of jazz in the Kansas City/Lawrence area, brought a tear to the eye of at least one listener. For a masterful exposition of the entire record and the story behind it, Dr. Chuck Berg's luminous liner notes are indispensable.

The album extends the formidable Foster legacy and in turn reflects beautifully on his mentors and enduring friends, educator Don Scheid and composer Clare Fischer. It simultaneously solidifies Strayer's status as a leader within his own jazz generation. Worthy of its classic name and origins, Mentor is a heroic effort.
-- Tom Fredrick






	Search our site:		Paul Hofmann NEW INVENTIONS MHR Records CD-13 Personnel: Paul Hofmann, solo piano Tracks: Three Short Pieces (Sonatina, A Sad Song, Thirds for Paul); New Inventions: No. 1 in C; No. 2 in C minor; No. 3 in D-flat; No. 4 in C-sharp minor; No. 5 in D; No. 6 in D-minor; No. 7 in E-flat; No. 8 in E-flat minor; No. 9 in E; No. 10 in E minor; No. 11 in F; No. 12 in F minor; No. 13 in F-sharp; No. 14 in F-sharp minor; No. 15 in G; No. 16 in G minor; No. 17 in A-flat; No. 18 in G-sharp minor; No. 19 in A; No. 20 in A minor; No. 21 in B-flat; No. 22 in B-flat minor; No. 23 in B; No. 24 in B minor; Deceptive Resolution Recorded August 12, 2002 (tracks 1-25) and August 22, 2001 ("Deceptive Resolution") at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. "...one's innate inventiveness, particularly when promoted (unleashed?), can lead to wonderful and surprising discoveries." -- Paul Hofmann If we are what we play, then on his latest release, New Inventions, pianist/composer (and former Kansas Citian) Paul Hofmann unleashes an inquisitive, playful and musically integrated mind. Hofmann, a teacher and practitioner of what he calls "chamber jazz," performs 24 original piano solos, one for each major and minor sonority on the chromatic scale, and pays homage to both his traditional and modern musical heroes. Each sequentially created piece has a personality all its own, and the sum total is a psychologist's and musicologist's delight -- a balance of form and function, script and style, left brain/right brain interweaving, if you will. The "instant compositions" take their cue from the opening piece, an unpublished trilogy written by John Hofmann for son Paul in the early 1970s. "Three Short Pieces" begins with a Mozart-like sonatina, deepens to minor chordal extensions, and concludes with a brief, dissonant statement. Echoing that device, each original tune begins simply and disarmingly. One can almost hear Hofmann's students (in his "Spontaneous Composition" class at the Eastman School of Music) saying, "I can do that!" Then, as if indicating the probable vs. the possible, the one-line melodies are quickly developed into an extrapolation of varying styles. No. 10 (E minor) gives us a taste of Bartok in an upper register rhapsody, no. 6 (D minor) has Bach's signature intervallic movement and bass counterpoint, no. 20 (A minor) is an elegy to Beethoven. And so, the student (or listener) realizes the complexity and dedicated training and says, "If I work hard enough, it can be." New Inventions is didactic knowledge of theory superimposed on the imagination of childhood, and the balancing act works. It's also Chopin, Debussy, and Rachmaninoff as Keith Jarrett or Bud Powell might do them. This collection also begs the question: with which key do you most resonate? Is it the bluesy motif of C minor, the jarring abstraction of E-flat major? The elastic swing of F major, or the rubato lyricism of F-sharp? As a bookend mirror to the rest of the CD, the treatment of Mike Metheny's "Deceptive Resolution" (from 1995's Street of Dreams on Altenburgh Records) transposes its minor to major modulation with an unusual stop-start "skipping the cracks" rhythm, changing the original tune's waveform structure into a fill-in-the-blanks Mensa quiz -- an inventive ending befitting of the theme. Hofmann is clearly in love with the instrument. He plays the entire keyboard with fluidity and stability, having a solid, seasoned touch on the keys and a crisply unhesitant reach. One may not always respond to his choice of staccato, exposed ending or hear the tonal extension from melody to harmony, but one always recognizes the invention beneath. If improvisation is the accumulation of all one's experiences, Paul Hofmann has amassed a compendium of musical wealth. And if we are what we listen to, may we all be so well-tempered. -- Kim Gorman Visit Paul Hofmann's web site at www.mhrrecords.com. -- Ed. Mike Melvoin IT'S ALWAYS YOU City Light Entertainment L.L.C. Personnel: Mike Melvoin, piano; Phil Woods, alto saxophone, clarinet; Steve Gilmore, bass; Bill Goodwin, drums Tracks: All or Nothing at All; Are You Going to Eat That?; Dawn Dance; Easy to Love; It's Always You; I Hear a Rhapsody; I'm Confessin'; But I Have To; This Is the Place; Come Rain or Come Shine; Whatever My Bianca Wants Recorded September 2002 at Charlestown Road, Norton's Corner, NJ; Hank Cicalo and Paul Wickliffe, engineers. Produced by Mike Melvoin, David Basse and Hank Cicalo. It would be hubris for most pianists (or any other instrumentalist) to record as a leader with Phil Woods in the band. Thelonious Monk got away with it, of course, but Phil was a youngster back then. But Mike Melvoin has recorded with so many great artists, jazz, pop and otherwise (from Tony Bennett to the Jackson Five, not to mention television and movie soundtracks), marquee values may not have even entered his mind. This CD is not so much a showcase of one artist with a supporting cast, as a showcase of an awe-inspiring quartet (or trio on the tunes where Woods lays out) with tons of interplay, and very balanced arrangements. Phil Woods' longtime sides, bassist Steve Gilmore and drummer Bill Goodwin, no doubt contribute to this marriage of talents. They've been playing together longer than many musicians have been playing in their lives, and it shows. You can imagine some of the great quartets Woods has led; substitute Melvoin for, say, Hal Galper, you've got an idea of the sound -- except Woods doesn't play on all the tracks. Also, Melvoin's voice is his own. At times reminiscent of Oscar Peterson, at other times Bill Evans, and sometimes even Monk. None of these influences is so overpowering as to make him sound derivative, merely well schooled in the musical vocabulary of the great jazz pianists. Stand-out solos abound throughout, and it's hard to pick peaks and valleys among the tracks because the overall impression is so strong. Whether it's Woods' amazing bebop lines on "All or Nothing at All" or Gilmore's soulful bass solo on "Come Rain or Come Shine," there are no wasted notes and no dull moments. The stylistic mix is very balanced as well, with bebop, medium swing, ballad, and Latin pieces all worked together. Some are standards like the aforementioned "All or Nothing at All," and "Easy to Love" mingled with Melvoin originals such as his answer to "Well, You Needn't," aptly titled "But I Have To." It's not an overlay on the changes to the Monk tune, but rather a unique composition that captures both the melodic and harmonic flavors of Monk. And while many associate Phil Woods almost entirely with the alto sax, he also brings his clarinet into the session on "I'm Confessin.'" All very tasty, and worth many listenings. -- Rod McBride Kim Park JAZZ Personnel: Kim Park, alto, tenor & soprano saxophones, flute; Joe Cartwright, John R. Burr, piano; Danny Embrey, guitar; Bob Bowman, bass; Todd Strait, Gary Hobbs, drums Tracks: Half Past Thirty; Midnight; What is This?; Sugar; A.T.T.Y.A; I've Grown Accustomed; Sometime Ago; Cool School; Cherokee Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. Kim Park is one of Kansas City's finest jazz musicians, but you must work hard to hear him live, as he does not appear frequently. That makes his latest release that much more of a treat. Jazz opens with a pair of Park originals. "Half Past Thirty" is a medium tempo 35-bar bopper (the last eight get a logical three bar extension) on which pianist John Burr makes his only appearance. "Midnight" features Park on soprano with a tone on the straight horn that may be on the "smooth" side, but it's the sax solo that picks up the intensity of this waltz. Todd Strait's cymbal work must also get some of the credit; bassist Bowman and keyboard man Cartwright both take their turns before Park restates the theme. "What Is This?" (Thing Called Love) finds Park on alto and pianoless. Strait and Bowman absolutely burn in support, and Park takes advantage of the space to make this a wailer. You may breathe a few "whews" during his solo. "Sugar" is followed by "A.T.T.Y.A" -- or "All the Things You Are" meets "Seven Steps to Heaven." You won't notice the hellish pace until Park takes his first chorus. Drummer Gary Hobbs takes some nice breaks before Cartwright gets a workout on piano. It's no wonder this burner is followed with a ballad, the beautiful "I've Grown Accustomed" (To Your Face). It is apparent that Park has the same love for this fair lady that I do. It is a perfect ballad feature for his alto, followed by an unaccompanied Cartwright. "Sometime Ago" is the feature for Park's flute. And after the original "Cool School," the CD finishes with "Cherokee" with Park just hinting at the theme, soaring through several fresh views of the bridge, and again taking advantage of pianoless space. Bob Bowman has some fun with the time during his turn, and Hobbs and Park trade fours before this highly recommended CD comes to a close. -- Roger Atkinson (Note: There will be a CD release concert for "Jazz" on Wednesday, June 4, at Unity Temple on the Plaza. Call 816-356-6224 additional information.) Gary Sivils SONGS FORGOTTEN IN THE MORNING Personnel: Gary Sivils, cornet; Paul Smith, piano; Bob Bowman, bass; Todd Strait, drums; Hal Melia, tenor saxophone Tracks: When Sunny Gets Blue; A Child is Born; St. Thomas; My Romance; Betcha By Golly Wow; Go-Go; The Meaning of the Blues; Autumn Leaves; The Rainbow Connection; It Could Happen to You; I Thought About You Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. Gary Sivils came under the spell of Miles Davis years ago, and there's nothing wrong with that. What's better is that Sivils didn't follow Miles from jazz into rock/fusion. That's especially evident on this CD. One thing that is hard to understand is the CD's title. These are not songs to be forgotten. You already know most of them, and they are generally very well presented. You'll likely remember the treatments they receive very clearly for many mornings to come. Sivils has four highly experienced and capable musicians at his disposal for this effort. The level of excellence from each is obvious. Everything the cornetist presents here is enhanced by their work. Though he's only on four of the 11 tracks, saxophonist Hal Melia offers lessons in how to build a solo that any jazz pro could absorb to good advantage. What I like most about this CD is "Go-Go," which, for many years, was a set-ending tune for Miles Davis. Many jazz groups have used a set-ender like this -- a small phrase to play for perhaps two or three choruses while somebody speaks into the mike, names the musicians and tells the crowd they'll be right back. But sometimes, if the groove is good, the set-ender might extend for several more choruses. On this version of "Go-Go," we get over seven very fulfilling minutes! The total effect is unmistakably what Miles used to achieve in his pre-Bitches Brew period. I loved it. What I didn't much like were the album's fade-aways ("When Sunny Gets Blue," "Betcha By Golly Wow"). It's like reading a book in which the closing sentence is repeated over and over in ever-lighter ink. You'd think they could have cobbled up some better endings. But, overall, this is an excellent piece of work. -- Bill Fogarty Kerry Strayer Septet featuring Gary Foster MENTOR Kerry Strayer Productions CD-0301 Personnel: Kerry Strayer, baritone & soprano saxophone; Gary Foster, alto & tenor saxophone, flute, clarinet; Barry Springer, trumpet, flugelhorn; Earlie Braggs, trombone; Frank Mantooth, piano; Bob Bowman, bass; Todd Strait, drums; Gary Helm, percussion Tracks: Saturday 10AM; Gaviota; A Flower is a Lovesome Thing; Sweet Lips; Siempre Me Va Bien; Don't Ask Why; Yardbird Suite; In Your Own Sweet Way; The Peacocks; I Hadn't Anyone Till You; Warne-ing Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. Before embarking for the Trojan War, Odysseus entrusted his son to the care of Mentor, a faithful friend. Some 2,700 years after Homer's Odyssey, the name is synonymous with the role of wise counselor and guide. It's a term apropos to the relationship between jazz saxophonists Gary Foster and Kerry Strayer. Though a masterclass teacher in his own right, Strayer as a player is Telemachus to Foster's Mentor. Foster is a first-call studio musician. Kansas born and educated, he's been based in California since 1961 and serves as visiting professor at UMKC. His credits include a vast array of television and movie scores, including the recent Oscar-sweeping "Chicago," as well as renowned individual, group, and orchestral recordings. Twice weekly dance gigs at the Leavenworth VFW as a moonlighting teenager under the tutelage of an early mentor, Harold Stanford, provided an invaluable start to it all. As arranger, Strayer achieves a rare conceptual consistency. Like Homer's epic poem, Strayer's musical tour de force reveals a coherent narrative structure. He unifies a remarkable variety of elements: An orchestrated combo with a straightahead style of play; both original compositions and standards; a legendary jazz landscape encompassing Basie, Bird, Brubeck, Ellington and Strayhorn; numerous contemporary influences and inspirations. It's all here and it all works, wrapped in nuanced charts and performed, with modest exceptions, on single takes. Septet charter members Braggs and Springer and the Speak Low troika of Bowman, Strait and Mantooth each add all-star performances. The latter's stem-to-stern brilliance on piano is especially noteworthy. While his woodwind virtuosity graces every song, Foster's three compositions -- "Saturday 10AM," "Sweet Lips," and "Warne-ing" -- are leading tracks. The first, a stirring memorial to Dick Wright, the beloved radio voice of jazz in the Kansas City/Lawrence area, brought a tear to the eye of at least one listener. For a masterful exposition of the entire record and the story behind it, Dr. Chuck Berg's luminous liner notes are indispensable. The album extends the formidable Foster legacy and in turn reflects beautifully on his mentors and enduring friends, educator Don Scheid and composer Clare Fischer. It simultaneously solidifies Strayer's status as a leader within his own jazz generation. Worthy of its classic name and origins, Mentor is a heroic effort. -- Tom Fredrick RETURN TO JUNE/JULY 2003 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2003. All rights reserved.