JAM: December 2003/January 2004 Issue: For the Record

Stan Kessler
OPEN
Standing Bear Records
SB42954

Personnel: Stan Kessler, trumpet, flugelhorn; Phil DeGreg, piano; Danny Embrey, guitar; Bob Bowman, bass; Todd Strait, drums; Gary Helm, percussion

Tracks: It Could Happen to You; Journey; Cool Struttin'; Close Your Eyes; Infant Eyes; I Hear a Rhapsody; Blue Man; Sacred Cow; Detour Ahead; Squall Line; Berlin November

Recorded at Soundtrek Studios, Kansas City, MO; Craig Rettmer, engineer.

Open is not only the name of the newest CD from Stan Kessler, it's also a great way to describe his approach to music. Unafraid to experiment or follow his muse, Kessler has explored everything from straightahead jazz and Brazilian music to funk, R&B, and Gregorian chant.

This recording is no exception.

Introduced by the distinctive drum sound of Todd Strait, the CD begins with "It Could Happen To You," an interesting arrangement that moves between broken rhythms, swing, and samba. After interpreting the melody, Kessler solos intently for two choruses before giving way to the fleet-fingered Bob Bowman. Pianist Phil DeGreg complements their work with an engaging solo, and Kessler restates the melody, leading the quartet into a two-chord samba vamp and fade out.

The fade out segues nicely into Danny Embrey's warm guitar comping on the samba "Journey," a tune that offers angular unison lines and the lively feel of Brazilian carnival.

Pursuing another direction, "Cool Struttin'" is pure blues with a hard bop message. Backed by Embrey's soulful comping, Bowman tells his story first. Kessler begins in Miles-inspired intervals and then digs in for some classic Kansas City blues playing. Embrey imaginatively stirs doubletime extended harmonies and blue notes into the same brew.

Mixing things up some more, Kessler transforms the standard "Close Your Eyes" into a hypnotizing Afro-Cuban trumpet chant over drums, drone bass, and Gary Helm's percussion.

The Wayne Shorter ballad "Infant Eyes" provides a chance to hear the leader's sensitive side, his flugelhorn lines lifted by Strait's elevating combination of mallets, brushes and sticks.

"I Hear a Rhapsody" is performed as a drumless trio, bookmarked at both ends by a syncopated rhythmic figure.

"Blue Man" starts out in freeform rubato then settles into a strongly propelled Art Blakey groove. DeGreg's solo starts out resonantly in the low register of the piano and builds up the energy for Kessler, who bends and slurs notes expressively before belting out a strident solo. With the support of bass and piano, Strait gets a chance to stretch on the drums at the end.

Things get even more interesting with "Sacred Cow," a post-modern funk in the John Scofield vein. In contrast, the haunting version of "Detour Ahead" invites the spirit of Bill Evans and Billie Holiday.

Finishing the session are "Squall Line," a trumpet-drum duet, and "Berlin November," a waltz that sometimes dances, and sometimes hovers, creating a sense of suspension and change -- like autumn.

In the context of creativity, the word "open" implies: unrestricted, unobstructed, risk-taking, accessible, responsive, available. As Stan Kessler pushes his own boundaries and strives for "open-ness," he is making some very enjoyable music along the way.

-- Tim Cross

Mark Pender
MARK PENDER BAND
(CD and DVD)

Personnel: Mark Pender, trumpet, vocals; Ritchie Labamba Rosenberg, trombone, vocals; Tim Cappello, saxes, vocals; Paul Frazier, bass, vocals; Glenn Alexander, guitar, vocals; Mo Roberts, drums; with Stan Harrison, Ed Manion, saxes; Shawn Pelton, drums; Jon Herington, guitar; Chris Meyers, bass; Fred Walcott, percussion; Scott Healey, keyboards; Elaine Caswell, Claudia Martin, vocals; Noah Hoffeld, cello; Jacob Lawson, violin; Flavio Gaete, viola

Tracks: (CD) I'm Excessive; Say You Love Me; I Like It; Let's Get It Together; Oh Baby Please; She Stripped Me; We Are Meant to Be Together; You're the Only One; Come On; Hypnotize; (DVD) She Stripped Me; After Hours; Pennies from Heaven; Hypnotize

Recorded at RPM Studios, The Cutting Room, 97 St. Marks and Sorcerer studios, New York, NY; produced and mastered by Dan Grigsby.

Jazz lovers who frequented the many jam sessions in and around Kansas City in the mid to late '70s, especially at the Phillips House with Richard Ross and at the Mutual Musicians Foundation, will remember a shy young kid with long curly hair who, in the words of Corky Brown, "couldn't wait to grab his trumpet and sit in." Mark Pender was one of those jazz musicians who, in the age-old tradition, learned his craft -- indeed, learned how to play his horn -- sitting in with countless musicians during countless jam sessions in the few local clubs left that featured after-hours sessions. Mark would wait his turn, play his stuff, and then disappear -- off to another session and another learning experience.

How grand it has been to follow his career from Kansas City throughout the music world to the jazz Mecca: New York City. Mark is currently the resident trumpet player and vocalist for the Max Weinberg 7 on the Conan O'Brien show and has a strong national following, as many web sites and music chat rooms will testify.

And he has a new CD/DVD release available through his web site at www.markpenderband.com.

As described on the site, the Mark Pender Band is a "funk, jazz and jump blues band based in New York City." This is a strong band, very reminiscent of the great funk bands of the '70s: Earth, Wind and Fire; The Ohio Players; Tower of Power; and much of Stevie Wonder's music. The band is very much a funk band -- so much so that the several tunes that are in swing style demonstrate that Pender is much more attuned to swing than most of the others. But jazz-funk? Look out!

Pender is a powerful trumpet player. It is easy to hear his Kansas City roots (though his band is hardly Kansas City Jazz), and he demonstrates that he has listened to the great power lead players as well, players such as Mike Vax, Marvin Stamm and John Faddis. On a collection of ten original compositions he demonstrates fine, strong playing, and more than adequate singing. Check out the Conan O'Brien show to see and hear him in action.

Also included in this package is a DVD which contains film of Mark playing in a multitude of clubs and dance halls in New York and, of local interest, Kansas City's Blue Room and Mutual Musicians Foundation. Featured here is some of the most interesting footage that we have recently seen taken during jams at both places.

This is a most noteworthy production -- definitely a local-boy-makes-good project. If you enjoyed young Mark Pender two decades ago, or simply are into good jazz/funk, you'll love this.

-- John Leisenring

Soundtrek Studios, Inc.
JAZZ TREK
A Special Collection

Tracks/Artists: Invincible Stomp (Vince Bilardo Big Band); Manteca (Joe Cartwright Quartet); My Buddy/What'll I Do (Marilyn Maye with Mark Franklin); Knobtown (PBT Trio with Paul Smith, Bob Bowman, Todd Strait); R and D at Hattie's (Paul Hofmann Trio); Waltz for Floss (Ed Dix and Bob Brookmeyer); You Don't Know What Love Is (Gary Sivils); East of the Sun (Interstring); Only Trust Your Heart (Kim Park, with guest vocalist Karrin Allyson); Since I Fell For You (The Leonard Brothers); Lyresto (Bill Caldwell and Everette DeVan); Save That Time (Russ Long Trio); 3625 Central (Kerry Strayer Septet, featuring Gary Foster); Ta-Ta For Now (Mike Metheny, with guest artist Pat Metheny)

Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel engineer. All tracks remastered by Jim Schrader, Soundtrek/Broadway, Kansas City, MO.

Ron Ubel's desire to record music began innocently enough. It was 1959 in his native St. Paul, Minnesota. He grew enthralled by a friend's performance of beautiful French music on a neighborhood church organ. Quickly borrowing a tape recorder and a couple of mikes, he hustled to capture a repeat performance.

Elsewhere that year, Gary Foster was teaming up with fellow University of Kansas student Carmell Jones to enliven the jazz scene in Lawrence. Bob Brookmeyer was New York bound, a year after leaving the Gerry Mulligan Quartet and before reuniting with Mulligan to form the Concert Jazz Band. Marilyn Maye was beginning what would become an eleven-year run at Ralph Gaines' Colony Steakhouse on Broadway. Five-year old Pat Metheny was yet to pick up his first instrument (a trumpet). And Karrin Allyson wasn't even a twinkle in her parents' eyes.

What does such a diverse group of jazz legends hold in common? Over time, all would come to be recorded by Ubel at Soundtrek Studios in Kansas City. Other luminaries would follow as well, artists like Bilardo, Bowman, Caldwell, Cartwright, DeVan, Dix, Hofmann, the Leonards, Long, Park, Sivils, Smith, Strait, and Strayer.

To create Jazz Trek, Ubel opened the vaults to provide a sampling of personal favorites drawn from the last decade at Soundtrek. The resulting special collection, dedicated to Maye, exudes artistic virtuosity and technical skill on both sides of the glass. It's the rare compilation equaling more than the sum of its already inestimable parts.

Beginning with the first drumbeats of "Invincible Stomp," an enjoyable up-tempo big band offering, the album runs for seventy-five minutes. It draws to a close with the lingering ethereal sounds of "Ta-Ta for Now," a poignant bossa from Mike Metheny (joined by brother Pat, who traded trumpet for guitar at age 11). Every moment along the way, the album seems to say, this Kansas City studio has produced some of America's finest contemporary jazz.

To trek is to go on a journey. Soundtrek's ongoing quarter century sojourn through KC-based jazz continues with Ron Ubel, master and commander at the helm, and his extraordinary crew on board. From the musicians' perspective, as Mike Metheny suggests in his liner notes, the experience of recording at Soundtrek is like coming home. An appropriate destination for the holidays.

-- Tom Fredrick

"Jazz Trek" will be available at area Kansas City Stores on or before Dec. 15. Call 816-931-8735 for additional ordering information.

Various Artists
WARMING UP KANSAS CITY

Personnel/Tracks: Kevin Mahogany, vocals; Russ Long, piano; Tommy Ruskin, drums; Gerald Spaits, bass; Mike White, tenor saxophone (Watch What Happens, When I Fall In Love, Serenade In Blue, Autumn Leaves); Julie Turner, vocals; Russ Long, vocals, piano; Tyrone Clark, bass; Tommy Ruskin, drums; Mike White, clarinet, tenor saxophone (Angel Eyes, Back Door Blues, Skylark, Blues Got Rhythm, Gee Baby Ain't I Been Good To You, Someone To Watch Over Me, There Is No Greater Love, Moten Swing, P.S. I Love You, Time to Go); Luqman Hamza, vocals, piano; Theodore Wilson, bass; John Cushon, drums; Al Pearson, trumpet; Mike White, tenor saxophone (Here's That Rainy Day; Save Your Love For Me)

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

Warming Up Kansas City is what KC jazz is all about.

Outstanding jazz talents have donated their time to present this music in a romantic and swinging fashion for a great cause, Project Warmth. All proceeds from the album go to this community service campaign sponsored by KCTV5 and The Kansas City Star to help make the winter months more livable for thousands of low-income families.

From the start of "Watch What Happens" until the final bar of "Time to Go," you will feel like you are taking a tour of the best club dates in town. This is an album that belongs in the CD collection of everyone who likes KC jazz, even a little! In addition to adding 74 minutes and 18 tracks (12 vocals, six instrumentals) of good, standard jazz to your library, it's also an opportunity to do your part to help those who can't afford to stay warm this winter.

The musicians on this CD are each KC jazz heroes. And it's hard to pick a favorite track because all are top notch. It's always good to have Kevin Mahogany back in a Kansas City recording studio. And other fine vocals are by Julie Turner, Russ Long and Luqman Hamza.

One standout performer start to finish -- and someone who has appeared on all three Project Warmth CDs -- is tenor saxophonist Mike White. Mike even offers a blue-ribbon rendition of "Angel Eyes" on clarinet.

Warming Up Kansas City is probably the single KC jazz album for 2003 that should go home with everyone who visits Kansas City jazz venues. Not just a jazz souvenir, it is also a pleasing reminder of good times in KC, listening to the music our city is most noted for.

Kansas Citian or not, put this CD on with the lights low and snuggled next to your honey, and melt into the warmth of sounds made possible by the generosity of KC's finest.

-- Dean Hampton

Timeless
First a personal note. On those rare occasions when I get to shake Jay McShann's hand (while stammering words of heartfelt admiration), it knocks me out that he knows who I am. That my name, for whatever reason, is stored in the same 87-year old memory bank as Charlie Parker always makes for an extra spring in the step, undeserved as it may be. (And let it be noted that there is also the customary, "Be sure to say 'hi' to Pat...")

More importantly, it should give each of us an extra spring in the step to know that, 65 years after carving an initial niche in KC's jazz and blues circles (and hiring 'Bird for the first time), the great Mr. McShann is still making timeless music, as has been captured on Jay's latest, Goin' to Kansas City (Stony Plain).

You don't need me to describe this CD (other than to promote the presence of esteemed KC musicians Milt Abel and Tommy Ruskin plus guests Johnnie Johnson, Maria Muldaur and Duke Robillard). Jay's music always speaks for itself. But I will take this opportunity to urge you to head to the Folly Theater on Saturday, December 13, for Jay McShann's next (and always rare) KC appearance. He is a last link to Kansas City's true jazz heyday; and as Clint Eastwood recently reminded us in Martin Scorsese's PBS series "The Blues," he remains an international jazz and blues treasure.

-- Mike Metheny