JAM: February/March 2004 Issue: For the Record

Angela Hagenbach
POETRY OF LOVE
Amazon Records ( ARCD-2822)

Personnel: Angela Hagenbach, vocals, percussion; Doug Auwater, drums, percussion; Jake Blanton, acoustic guitar, electric guitar; Don Braden, tenor sax; Cecil Brooks III, drums, Dwayne Burno, bass; Rod Fleeman, guitar; Jimmy Heath, tenor sax; Gary Helm, percussion; Russell Malone, guitar; Steve Rigazzi, bass; Paul Smith, piano; Clark Terry, trumpet, mumbles; Roger Wilder, piano, synthesizer, Fender Rhodes; James Williams, piano

Tracks: Tell Me All About It; I Can¹t Believe You¹re In Love With Me; Bittersweet; Never Let Me Go; Dark Dreams; Blues Are Brewin'; I¹ve Got You Under My Skin; You Keep Calling Me; Watch What Happens; It Might As Well Be Spring

Tracks 1,3,5,7,8, and 10 recorded at BRC Audio Productions, Kansas City, MO; Bill Crain, Lead Engineer, Josh Williams, Assistant Engineer; Tracks 2,4,6 and 9 recorded at Tedesco Studios, Paramus, NJ; Paul Wickliffe, Engineer, Tom Tedesco, Assistant Engineer; all mixing and mastering: Bill Crain, BRC Audio Productions

With the recent release of Poetry of Love , her fifth on Amazon Records, Angela Hagenbach seems to be hitting her stride. Using the freedom afforded by producing on her own label, she has chosen material that highlights her strengths and reveals her affinity for Brazilian music, jazz standards, and yes -- poetry.

A natural story teller, with a deep respect for lyrics and crisp articulation to match, Hagenbach covers familiar ground in “Watch What Happens” and “I've Got You Under My Skin,” but also digs into “Tell Me All About It” (Michael Franks) and a lively samba version of “It Might As Well Be Spring” with equal conviction.

An interesting part of this recording, and the source of the CD's title, is the music that Hagenbach composed and arranged in collaboration with Kansas City poets Phyllis Becker and Mark Schroer.

As she explains in the liner notes, the tune “Bittersweet” is based on two free verse pieces, a challenge which required departing from the typical AABA or “pre-formulated” song structure. “Dark Dreams,” on the other hand, is a sonnet set to an Afro-Cuban beat, and “You Keep Calling Me” is a pantoum -- a type of Malaysian poem built on interlocking quatrain stanzas, which is set here to a traditional Bahian afoxé rhythm.

The result is effective. Hagenbach's interpretations are crisp and to-the-point. Her precise phrasing, sure intonation, and resonant voice ensure that every note and syllable count.

Another aspect of this project is the use of two sets of musicians and studio locations. Half the tracks were recorded in Kansas City with Hagenbach's long-standing band, Hot Latin Jazz, comprised of Doug Auwater, Jake Blanton, Gary Helm, Steve Rigazzi, and Roger Wilder. (Rod Fleeman and Paul Smith also appear). The rest of the tracks were recorded in New Jersey , with an impressive line-up of New York-based musicians, including Jimmy Heath, James Williams, Russell Malone, and Clark Terry, who is in fine form on “Blues Are Brewin'.”

Hagenbach's stylistic flexibility, and strong performances by all the musicians involved, make for an even and unified recording -- one that moves seamlessly from street samba, to ballad, to blues. Hearing guitarists Jake Blanton, Rod Fleeman, and Russell Malone, and pianists Roger Wilder, Paul Smith, and James Williams all on the same CD is an unusual treat, and one that Kansas City listeners will surely enjoy.   Special mention also needs to be made of the relentless and fiery rhythm section of Doug Auwater, Gary Helm, and Steve Rigazzi, who are the backbone of this recording.

With plans for Poetry of Love to be released nationally, Hagenbach is an artist who will be getting a lot more attention in the near future.   For those outside of Kansas City who haven't had the pleasure of hearing her before, this CD should provide a great introduction. Supported by great musicians, and inspired by music and words “dear to her heart,” -- this is Angela Hagenbach at her best.

--Tim Cross

Mike Metheny
KC POTPOURRI
3V-002

Personnel: Mike Metheny, flugelhorn, cornet, EVI; Paul Smith, piano,
keyboards, synthesizers; Roger Wilder, piano; Danny Embrey, Rod Fleeman, guitar; Bob Bowman, Gerald Spaits, bass; Tommy Ruskin, Todd Strait, drums; the Soundtrek Big Band (Kim Park, Todd Wilkinson, Hal Melia, Doug Talley, Kerry Strayer, saxophones; Steve Dekker, Jim Cann, Phil Thomas, Rich Coble, trombones; Steve
Molloy, Bob Harvey, Jay Sollenberger, Barry Springer, trumpets; Joe Cartwright, piano; Danny Embrey, guitar; Tim Brewer, bass; Tom Morgan, drums)

Tracks: The Flintstones Theme; Always and Forever; Two Degrees East, Three Degrees West; Tell Me Now; How Insensitive; Are You Real?; Darn That Dream; Hey Man!; We'll Be Together Again

Recorded and mixed at Soundtrek Studios, Kansas City, MO; Ron Ubel, Grant Schainost, Craig Rettmer, Jim Schrader engineers.

Clark Terry, flugelhornist extraordinaire, included an exuberant, fun
final track on his 1988 release with the Netherlands Metropole Orchestra, a
large, string band from Holland . Where Terry left off, Mike Metheny picks up on a new album from 3 Valve Music. "The Flintstones Theme" has never sounded better or more delightful than it does with Metheny backed by the Soundtrek Big Band from Kansas City.

For the record, while Metheny has a seriously funny sense of humor, his
take on jazz is no laughing matter. KC Potpourri is his seventh album as a
leader, this time over an ideal collection of straight-ahead material. The music alternately swings and soothes.

A first-class, eighteen-person band provides four songs, while another
five come from synchronous small groups. Playing on two quartet and three
quintet tracks, respectively, are musicians drawn from an additional roster of nine heavy hitters. Altogether, the personnel would equal any similar gathering of musicians assembled in any indigenous setting today. Metheny's soulful, otherworldly voice lights the way from beginning to end.

One quartet piece is "Two Degrees East, Three Degrees West." John Lewis
originally wrote it in 1956 for his quintet of two musicians from the Eastern
jazz scene and three from the West Coast. Here, Metheny's horn is in, guitar and saxophone are out, and the resulting 'four degrees Midwest ' is atmospheric and memorable.

The album closes with "We'll Be Together Again," written by Carl Fischer
and made famous by Frankie Laine in the late 1950s. Though not heard on this instrumental album, the final lyrics are, "Someday, someway we both have a lifetime before us/Parting is not good-bye, we'll be together again." With two outstanding albums in a row from his own label, we're left to wonder what's in store for the future from Metheny when we're together again, especially since he's freed himself from a time-consuming role and responsibilities as editor of and writer for this magazine.

Thankfully, in the music realm, he's given us Close Enough for Love, the
enduring modern song story cycle, and now the masterful KC Potpourri to savor while we wait. "Music is a constant," it's been said, "reminding us of what we were and of that toward which we aspire." To paraphrase Ralph Ellison, in the swift whirl of time, Mike Metheny's music once again not only serves to calm, but to ennoble us. Plus, it's totally hip. And with a dash of humor, too.

-- Tom Fredrick






	Search our site:		Angela Hagenbach POETRY OF LOVE Amazon Records ( ARCD-2822) Personnel: Angela Hagenbach, vocals, percussion; Doug Auwater, drums, percussion; Jake Blanton, acoustic guitar, electric guitar; Don Braden, tenor sax; Cecil Brooks III, drums, Dwayne Burno, bass; Rod Fleeman, guitar; Jimmy Heath, tenor sax; Gary Helm, percussion; Russell Malone, guitar; Steve Rigazzi, bass; Paul Smith, piano; Clark Terry, trumpet, mumbles; Roger Wilder, piano, synthesizer, Fender Rhodes; James Williams, piano Tracks: Tell Me All About It; I Can¹t Believe You¹re In Love With Me; Bittersweet; Never Let Me Go; Dark Dreams; Blues Are Brewin'; I¹ve Got You Under My Skin; You Keep Calling Me; Watch What Happens; It Might As Well Be Spring Tracks 1,3,5,7,8, and 10 recorded at BRC Audio Productions, Kansas City, MO; Bill Crain, Lead Engineer, Josh Williams, Assistant Engineer; Tracks 2,4,6 and 9 recorded at Tedesco Studios, Paramus, NJ; Paul Wickliffe, Engineer, Tom Tedesco, Assistant Engineer; all mixing and mastering: Bill Crain, BRC Audio Productions With the recent release of Poetry of Love , her fifth on Amazon Records, Angela Hagenbach seems to be hitting her stride. Using the freedom afforded by producing on her own label, she has chosen material that highlights her strengths and reveals her affinity for Brazilian music, jazz standards, and yes -- poetry. A natural story teller, with a deep respect for lyrics and crisp articulation to match, Hagenbach covers familiar ground in “Watch What Happens” and “I've Got You Under My Skin,” but also digs into “Tell Me All About It” (Michael Franks) and a lively samba version of “It Might As Well Be Spring” with equal conviction. An interesting part of this recording, and the source of the CD's title, is the music that Hagenbach composed and arranged in collaboration with Kansas City poets Phyllis Becker and Mark Schroer. As she explains in the liner notes, the tune “Bittersweet” is based on two free verse pieces, a challenge which required departing from the typical AABA or “pre-formulated” song structure. “Dark Dreams,” on the other hand, is a sonnet set to an Afro-Cuban beat, and “You Keep Calling Me” is a pantoum -- a type of Malaysian poem built on interlocking quatrain stanzas, which is set here to a traditional Bahian afoxé rhythm. The result is effective. Hagenbach's interpretations are crisp and to-the-point. Her precise phrasing, sure intonation, and resonant voice ensure that every note and syllable count. Another aspect of this project is the use of two sets of musicians and studio locations. Half the tracks were recorded in Kansas City with Hagenbach's long-standing band, Hot Latin Jazz, comprised of Doug Auwater, Jake Blanton, Gary Helm, Steve Rigazzi, and Roger Wilder. (Rod Fleeman and Paul Smith also appear). The rest of the tracks were recorded in New Jersey , with an impressive line-up of New York-based musicians, including Jimmy Heath, James Williams, Russell Malone, and Clark Terry, who is in fine form on “Blues Are Brewin'.” Hagenbach's stylistic flexibility, and strong performances by all the musicians involved, make for an even and unified recording -- one that moves seamlessly from street samba, to ballad, to blues. Hearing guitarists Jake Blanton, Rod Fleeman, and Russell Malone, and pianists Roger Wilder, Paul Smith, and James Williams all on the same CD is an unusual treat, and one that Kansas City listeners will surely enjoy. Special mention also needs to be made of the relentless and fiery rhythm section of Doug Auwater, Gary Helm, and Steve Rigazzi, who are the backbone of this recording. With plans for Poetry of Love to be released nationally, Hagenbach is an artist who will be getting a lot more attention in the near future. For those outside of Kansas City who haven't had the pleasure of hearing her before, this CD should provide a great introduction. Supported by great musicians, and inspired by music and words “dear to her heart,” -- this is Angela Hagenbach at her best. --Tim Cross Mike Metheny KC POTPOURRI 3V-002 Personnel: Mike Metheny, flugelhorn, cornet, EVI; Paul Smith, piano, keyboards, synthesizers; Roger Wilder, piano; Danny Embrey, Rod Fleeman, guitar; Bob Bowman, Gerald Spaits, bass; Tommy Ruskin, Todd Strait, drums; the Soundtrek Big Band (Kim Park, Todd Wilkinson, Hal Melia, Doug Talley, Kerry Strayer, saxophones; Steve Dekker, Jim Cann, Phil Thomas, Rich Coble, trombones; Steve Molloy, Bob Harvey, Jay Sollenberger, Barry Springer, trumpets; Joe Cartwright, piano; Danny Embrey, guitar; Tim Brewer, bass; Tom Morgan, drums) Tracks: The Flintstones Theme; Always and Forever; Two Degrees East, Three Degrees West; Tell Me Now; How Insensitive; Are You Real?; Darn That Dream; Hey Man!; We'll Be Together Again Recorded and mixed at Soundtrek Studios, Kansas City, MO; Ron Ubel, Grant Schainost, Craig Rettmer, Jim Schrader engineers. Clark Terry, flugelhornist extraordinaire, included an exuberant, fun final track on his 1988 release with the Netherlands Metropole Orchestra, a large, string band from Holland . Where Terry left off, Mike Metheny picks up on a new album from 3 Valve Music. "The Flintstones Theme" has never sounded better or more delightful than it does with Metheny backed by the Soundtrek Big Band from Kansas City. For the record, while Metheny has a seriously funny sense of humor, his take on jazz is no laughing matter. KC Potpourri is his seventh album as a leader, this time over an ideal collection of straight-ahead material. The music alternately swings and soothes. A first-class, eighteen-person band provides four songs, while another five come from synchronous small groups. Playing on two quartet and three quintet tracks, respectively, are musicians drawn from an additional roster of nine heavy hitters. Altogether, the personnel would equal any similar gathering of musicians assembled in any indigenous setting today. Metheny's soulful, otherworldly voice lights the way from beginning to end. One quartet piece is "Two Degrees East, Three Degrees West." John Lewis originally wrote it in 1956 for his quintet of two musicians from the Eastern jazz scene and three from the West Coast. Here, Metheny's horn is in, guitar and saxophone are out, and the resulting 'four degrees Midwest ' is atmospheric and memorable. The album closes with "We'll Be Together Again," written by Carl Fischer and made famous by Frankie Laine in the late 1950s. Though not heard on this instrumental album, the final lyrics are, "Someday, someway we both have a lifetime before us/Parting is not good-bye, we'll be together again." With two outstanding albums in a row from his own label, we're left to wonder what's in store for the future from Metheny when we're together again, especially since he's freed himself from a time-consuming role and responsibilities as editor of and writer for this magazine. Thankfully, in the music realm, he's given us Close Enough for Love, the enduring modern song story cycle, and now the masterful KC Potpourri to savor while we wait. "Music is a constant," it's been said, "reminding us of what we were and of that toward which we aspire." To paraphrase Ralph Ellison, in the swift whirl of time, Mike Metheny's music once again not only serves to calm, but to ennoble us. Plus, it's totally hip. And with a dash of humor, too. -- Tom Fredrick RETURN TO FEBRUARY/MARCH 2004 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2004. All rights reserved.