JAM: August/September 2004 Issue: For the Record

Bobby Watson & Horizon
Horizon Reassembled
Palmetto Records 2102

Personnel: Bobby Watson, alto sax; Terell Stafford, trumpet, flugelhorn; Edward Simon, piano; Essiet Essiet, bass; Victor Lewis, Drums.

Tracks : Lemoncello; Pere; The Love We Had Yesterday; Ginger Bread boy; Horizon Reassembled; The look of love; Eeeyyess; Permanoon; Dark Days; Dark Days (interlude); Xangongo

Recorded January 25-26, 2004, Maggie's Farm. Mastered by Michael MacDonald at AlgoRhythms , New York City

Bobby Watson & Horizon were among the music's finer aggregations in the 1980's and early 1990's. The band had five sessions released on Blue Note and Columbia , and their spirit gave them a reputation not unlike the one previously earned by Cannonball Adderly. They were at once accessible to a broader audience while not sacrificing their artistry. Conservative jazz fans enjoyed the band, and bartenders could play their CD's and have the non-jazz fans tapping their toes and buying another round.

The quintet has reunited for this session, recorded in January a week after their residence at New York City 's Jazz Standard. In fact, this is the exact same personnel that comprised the final version of Horizon over a decade ago.

The opening track “Lemoncello” immediately hits home, reminding us of why we enjoy Horizon. Lewis is a master drummer, here changing between a funky rhythm and a straight hard bop. Watson quotes “There's a Small Hotel” and follows with a phrase that sets the hotel on fire.

Simon's “Pere” is a Latin gem. Lewis has a tear-it-up solo over Simon's vamp before the horns take it out.

“The Love We Had Yesterday,” penned by Pamela Watson, is a nice showcase for Bobby's ballad style. His tone is gorgeous on this, showing a light vibrato at the end of phrases, and keeping it soft in the high register. Lewis shows us how to color a ballad.

Jimmy Heath's “Ginger Bread Boy” is funky by nature, but not quite as funky as the opening is taken here. Stafford flies out of the starting gate on his solo and Watson takes over and maintains the pace. Again, Lewis is a treat behind Simon's solo. You'll probably have to rewind so you can hear the piano solo, because the drums attract both ears.

Simon opens “Horizon Reassembled” unaccompanied before the horns join in on another Latin romp. “The Look of Love” is another ballad feature, taken more at the Dusty Springfield tempo rather than the Sergio Mendes. The mellow Stafford flugelhorn is a highlight here.

Victor Lewis comes up with yet another drum rhythm for his own composition “Eeeyyess.” Watson's solo is his burning best, with his trademark arpeggios. Stafford shows off his plunger work.

After another funky outing, “Permanoon,” comes Watson's ballad “Dark Days.” Bobby shows he has heard Johnny Hodges' ballad style, using a Rabbit-like glissando. He also uses his alternate finger technique to vary tones to good effect. The Interlude features a Stafford solo on the same tune; it's an odd insertion as a separate track.

Essiet's “Xangongo” again shows how this band can produce counter rhythms under a fairly simple melody, as Essiet, Lewis, and Simon get three different rhythms to mesh well.

As with the original Horizon, Victor Lewis often gets the MVP nod on a team of superstars. His drums are ever-present and always interesting on this CD. Add this to the talents of Bobby Watson and the rest of Horizon, and the result is one of the happier reunions of 2004.

--Roger Atkinson

The Boulevard Big Band
Take Only For Pain
Sea Breeze SB-2130

Personnel: Trumpets—Jay Sollenberger, Danny O'Brien, Dave Aaberg, Al Pearson, Chuck Tumlinson, Michael McGraw; Woodwinds—Hal Melia, Bill Caldwell, Jim Vandel, Phil Brenner, Josh Sclar, Todd Wilkinson, Carl Bender, Pete Christlieb, Aaron Simcox; Trombones—Greg Finch, Steve Dekker, Phil Thomas, Matt Kern, Jeff Hamer; Drums—Todd Strait; Piano—Wayne Hawkins, Frank Mantooth; Bass—Tim Brewer, Craig Akin; Guitar—Rob Whitsitt

Tracks: Old Devil Moon, Take Only For Pain, No Strings Attached, Workahol, The More I See You, Ladybird, Aldente, Star Eyes, Superbop, Nardis, Tenor Tantrum

Opening with “Old Devil Moon, a sophisticated arrangement of Hal Melia's, with a smoking trombone solo from Steve Dekker, this CD is a much needed fix. It follows the tradition without being a petrified repeat of what went before it.

Frank Mantooth contributed the title track, composing and arranging, as well as soloing on piano. It's a complex piece that serves as a reminder of the magnitude of his loss.

It's great to hear new interpretations of the often neglected standards “Old Devil Moon” and “The More I See You.” Even more commonly played tunes like “Nardis,” “Ladybird” and “Star Eyes” aren't anything I already had in the big band section of my CDs.

The strong compositions of Dekker, Mantooth, and Chuck Tumlinson provide a potent cocktail. There's a great deal of variety in the tracks, though the band has a very cohesive sound.

The soloing throughout is very strong. There's really no weak spots on the album.

This a collection of great musicians, who also prove to be great composers and arrangers. Five of the eleven tracks were composed by band members and all the arrangements are home-grown…half a dozen arrangers who can also play, that's an embarrassment of riches.

My advice is to not wait on pain, just put this in your CD player and set it to ‘repeat all.'

—Rod McBride

Wild For You
Karrin Allyson

Tracks: All I Want; Don't Let Me Be Lonely Tonight; (Goin') Wild For You, Baby; Help Me; Sorry Seems to Be the Hardest Word; I Got Eyes; The Moon Is a Harsh Mistress; It's Too Late; Mind on My Man; The Right Thing to Do; Feel Like Makin' Love; The First Time Ever I Saw Your Face

Personnel: Karrin Allyson - vocals, percussion, piano, Fender Rhodes; Gil Goldstein - piano, accordion, Hammond B-3, Fender Rhodes; Paul Smith - Fender Rhodes; Danny Embrey - acoustic guitar; Rod Fleeman - electric & acoustic guitars; Bob Bowman - acoustic bass; Todd Strait - drums, percussion.

Recorded at Sear Sound, Studio C, New York City , December 13-16, 2003

Karrin Allyson's latest CD is a homage to the 70s, when pop songs were sung not shouted, and were, for the most part, worthy and memorable offerings. She's made some killer choices and you'll be fascinated by the extraordinary renaissance achieved via gifted arranger Gil Goldstein. He's also a renowned composer and musician, accompanying Karrin here - and offering lush solos - on the acoustic piano. Allyson's other impressive sidemen include the usual complement we've come to love and look forward to: guitarists Danny Embrey and Rod Fleeman, pianist Paul Smith (exclusively on the Fender Rhodes), bassist Bob Bowman, and drummer Todd Strait.

Is Jamaica-pation a word? If not, it should be, for nothing better describes the rhythms infusing “All I Want,” a Joni Mitchell blockbuster. It flourishes in the off beat, enhanced by a beautiful, breezy Fleeman solo over Strait's whimsical percussion, then trailing off with a scat tag fade.

Karrin's “Don't Let Me Be Lonely Tonight” is a sweet imploration befitting Sweet Baby James' composition. The spartan accompaniment is nonetheless tasty, punctuated by a laid back, sensual Bowman bass solo.

Cat Stevens' “Wild World” seems most accommodating of a jazz tractate, with periodic scat resolutions and an articulate and swinging Goldstein piano solo.

A dirge-like feel is aimed for and achieved in “(Goin') Wild For You, Baby,” written by David Batteau and Tom Snow but immortalized by Bonnie Raitt. It's a nifty chart, vocally intense over soft drum rolls with Karrin's increasingly soulful execution dissolving into a gentle but nonetheless vivid and demanding drum solo. Another inventive scat tag includes some nice guitar/vocal trades. (By the way, that's Karrin riding the Rhodes here.)

Each successive phrase of “Help Me” morphs into scat afterthoughts, finally followed by Goldstein's forceful and expressive piano.The quintessential buttress, bassist Bowman also contributes some gorgeous lines. This typically unconventional Joni Mitchell original requires perfect pitch and Karrin never misses. This one takes off like a balloon in the wind; you're never sure where it's going but you can't stop watching. Elton John and Bernie Taupin's “Sorry Seems to Be the Hardest Word” translates well as Allyson's poignant passages blend with the fluent grand piano, timely cymbal accents, and bittersweet accordion solo.

Melissa Manchester's “I Got Eyes” is a rangy ditty, enhanced by a great Embrey solo and yet more impressive accordion comping by the multi-talented Goldstein. And, up to now, we've heard little of Paul Smith (on the opener, “Help Me,” and “I Got Eyes”). But he shines on the next four cuts, always backing and filling with unparalleled scope.

I'm embarrassed to admit I was unfamiliar with Jimmy Webb's “The Moon is a Harsh Mistress” but I'm grateful to have discovered it here, especially the transcendental lyrics, ardently voiced by Allyson. “It's Too Late” suspends Carole King's traditional straight four meter and rides a phalanx of patterns atop a 12/8 feel. The substitutions are wild.

One of my favorite Carly Simon originals is “Mind on My Man,” an unorthodox mistresspiece with unusual changes, a few of which are usurped here (but cleverly so). It really lends itself to Bowman's delicate bass interlude. Karrin segues smoothly into Simon's hit, “Lovin' You's the Right Thing to Do,” a well-designed head with a tricky bridge which she negotiates with poise and polish.

Roberta Flack made it famous but Eugene McDaniels wrote it; I speak of “Feel Like Makin' Love,” which begins atop a pedal tone fifth and unfolds into a vamp with Embrey's guitar riffs, Strait's inventive polyrhythyms, and Goldstein this time on the B3 organ.

I'm thrilled Karrin self-accompanies on Ewan MacColl's “The First Time Ever I Saw Your face.” (Yeah, I thought Roberta wrote it, too.) I always wanted to hear more of Karrin's piano when she performed in KC and I'm happy to report that it-- and she -- sound fine. This selection features the simplest melody in the bunch, but Karrin infuses it with rich lines and converses eloquently with Danny's guitar, a contrapuntal interlude which should bring a smile to your face.

It should be noted that Allyson breezes through this compendium, slightly more breathy here than in previous renderings, always fluent and effortlessly erogenic.

This isn't meant to be a complaint, but the charts are so electrifying that they occasionally steal the thunder. Nevertheless, Karrin continues to stretch, and her fans will be delighted at this latest release.

-- Carol Comer

Bob Brookmeyer
New Art Orchestra
Featuring Till Brönner
Get Well Soon
Challenge Jazz
SACHR 70111

Personnel: Bob Brookmeyer, conductor and valve trombone; Till Brönner, guest soloist trumpet; Marko Lackner, Oliver Leicht, Paul Heller, Niels van Haften, Edgar Herzog, reeds; Thorsten Benkenstein, Torsten Maaß, Sebastian Strempel, Eckhard Baur, Aneel Soomary, trumpets; Steve Trop, Christian Jaksjo, trombones; Anders Wiborg, Ed Partyka, bass trombones; Hendrik Soll, synthesizer; Kris Goessens, piano; Ingmar Heller, bass; John Hollenbeck, drums.

Tracks: Tah-DUM!; Monster Rally; For You; Over Here; Interlude # 1; Lovely; Song, Sing, Sung; Interlude # 2; Elegy; Get Well Soon.

Recorded August 23-25, 2002 at Bauer Studios, Ludwigsburg , Germany , Carlos Albrecht, engineer.

Bob Brookmeyer & Kenny Wheeler
Island
Bob Brookmeyer & Kenny Wheeler
Artists House Music
AH0006

Personnel: Bob Brookmeyer, valve trombone; Kenny Wheeler, flugelhorn, trumpet; John Hollenbeck, drums; Jeremy Allen, bass; Frank Carlberg, piano.

Tracks: Before the First Time; 114; Where Do We Go From Here?; Song for Kenny; Upstairs with Beatrice; Island ; Strange One.

Recorded September 27-29, 2002 at Mix One Studios, Boston , Massachusetts , Ted Paduck, engineer.

“No man is an island, entire of itself.”
John Donne, Devotions upon Emergent Occasions

No man is an island. Not even someone so much a part of the jazz landscape as Bob Brookmeyer. Relationships have always mattered to and motivated him. Whether active in small group or big band settings, he's been mapping frontiers with musical colleagues since the World War II era.

Locally, his jazz cartography ranges from playing in the Warren Durrett Orchestra as a teenager to reuniting at age 72 with saxophonist friend Ed Dix for the 2002 quintet effort, Full Circle . Kansas City is place of origin for Brookmeyer, yet his nature and destiny extend beyond provincial or even national spheres of influence to reach a wide musical world. A classic example is the latest recording from his German-based New Art Orchestra.

Get Well Soon , NAO's third release in ten years, is a singular work infused with color by a large ensemble of talented individual artists. The unifying force is masterful orchestration and conducting by Brookmeyer. His solo turns reveal plenty left to say as player as well. He told a British reporter a half century or so ago, “Of course jazz is an art!” The album – full of demanding compositions, sophisticated sounds, and upbeat affirmations – is a museum quality fine-art offering with swinging street-corner appeal.

The cumulative years of jazz experience represented by the full NAO merely rivals the combined careers of Brookmeyer and flugelhornist Kenny Wheeler. Coming together for Island , their collaboration suggests the presence of greatness. Seven all-original compositions permeate the album with beauty, sweetness, and love. A DVD jam-packed with special features is also included for free with the music CD. Though Brookmeyer is old school in the best conservatory-classical and traditional-jazz senses, he remains at the leading edge in both message and medium.

Brookmeyer occupies a formidable place on the music continent while his identity involves multiple dimensions. Complex person and simple lover of cats. Icon and iconoclast. Outspoken social critic and devoted husband. Faithful friend and musical genius. All in one, he's an enduringly important figure in the geography of jazz. Island and Get Well Soon are worthy additions to the prolific Brookmeyer atlas and highly recommended stops along any listening sojourn.

-- Tom Fredrick






	Search our site:		Bobby Watson & Horizon Horizon Reassembled Palmetto Records 2102 Personnel: Bobby Watson, alto sax; Terell Stafford, trumpet, flugelhorn; Edward Simon, piano; Essiet Essiet, bass; Victor Lewis, Drums. Tracks : Lemoncello; Pere; The Love We Had Yesterday; Ginger Bread boy; Horizon Reassembled; The look of love; Eeeyyess; Permanoon; Dark Days; Dark Days (interlude); Xangongo Recorded January 25-26, 2004, Maggie's Farm. Mastered by Michael MacDonald at AlgoRhythms , New York City Bobby Watson & Horizon were among the music's finer aggregations in the 1980's and early 1990's. The band had five sessions released on Blue Note and Columbia , and their spirit gave them a reputation not unlike the one previously earned by Cannonball Adderly. They were at once accessible to a broader audience while not sacrificing their artistry. Conservative jazz fans enjoyed the band, and bartenders could play their CD's and have the non-jazz fans tapping their toes and buying another round. The quintet has reunited for this session, recorded in January a week after their residence at New York City 's Jazz Standard. In fact, this is the exact same personnel that comprised the final version of Horizon over a decade ago. The opening track “Lemoncello” immediately hits home, reminding us of why we enjoy Horizon. Lewis is a master drummer, here changing between a funky rhythm and a straight hard bop. Watson quotes “There's a Small Hotel” and follows with a phrase that sets the hotel on fire. Simon's “Pere” is a Latin gem. Lewis has a tear-it-up solo over Simon's vamp before the horns take it out. “The Love We Had Yesterday,” penned by Pamela Watson, is a nice showcase for Bobby's ballad style. His tone is gorgeous on this, showing a light vibrato at the end of phrases, and keeping it soft in the high register. Lewis shows us how to color a ballad. Jimmy Heath's “Ginger Bread Boy” is funky by nature, but not quite as funky as the opening is taken here. Stafford flies out of the starting gate on his solo and Watson takes over and maintains the pace. Again, Lewis is a treat behind Simon's solo. You'll probably have to rewind so you can hear the piano solo, because the drums attract both ears. Simon opens “Horizon Reassembled” unaccompanied before the horns join in on another Latin romp. “The Look of Love” is another ballad feature, taken more at the Dusty Springfield tempo rather than the Sergio Mendes. The mellow Stafford flugelhorn is a highlight here. Victor Lewis comes up with yet another drum rhythm for his own composition “Eeeyyess.” Watson's solo is his burning best, with his trademark arpeggios. Stafford shows off his plunger work. After another funky outing, “Permanoon,” comes Watson's ballad “Dark Days.” Bobby shows he has heard Johnny Hodges' ballad style, using a Rabbit-like glissando. He also uses his alternate finger technique to vary tones to good effect. The Interlude features a Stafford solo on the same tune; it's an odd insertion as a separate track. Essiet's “Xangongo” again shows how this band can produce counter rhythms under a fairly simple melody, as Essiet, Lewis, and Simon get three different rhythms to mesh well. As with the original Horizon, Victor Lewis often gets the MVP nod on a team of superstars. His drums are ever-present and always interesting on this CD. Add this to the talents of Bobby Watson and the rest of Horizon, and the result is one of the happier reunions of 2004. --Roger Atkinson The Boulevard Big Band Take Only For Pain Sea Breeze SB-2130 Personnel: Trumpets—Jay Sollenberger, Danny O'Brien, Dave Aaberg, Al Pearson, Chuck Tumlinson, Michael McGraw; Woodwinds—Hal Melia, Bill Caldwell, Jim Vandel, Phil Brenner, Josh Sclar, Todd Wilkinson, Carl Bender, Pete Christlieb, Aaron Simcox; Trombones—Greg Finch, Steve Dekker, Phil Thomas, Matt Kern, Jeff Hamer; Drums—Todd Strait; Piano—Wayne Hawkins, Frank Mantooth; Bass—Tim Brewer, Craig Akin; Guitar—Rob Whitsitt Tracks: Old Devil Moon, Take Only For Pain, No Strings Attached, Workahol, The More I See You, Ladybird, Aldente, Star Eyes, Superbop, Nardis, Tenor Tantrum Opening with “Old Devil Moon, a sophisticated arrangement of Hal Melia's, with a smoking trombone solo from Steve Dekker, this CD is a much needed fix. It follows the tradition without being a petrified repeat of what went before it. Frank Mantooth contributed the title track, composing and arranging, as well as soloing on piano. It's a complex piece that serves as a reminder of the magnitude of his loss. It's great to hear new interpretations of the often neglected standards “Old Devil Moon” and “The More I See You.” Even more commonly played tunes like “Nardis,” “Ladybird” and “Star Eyes” aren't anything I already had in the big band section of my CDs. The strong compositions of Dekker, Mantooth, and Chuck Tumlinson provide a potent cocktail. There's a great deal of variety in the tracks, though the band has a very cohesive sound. The soloing throughout is very strong. There's really no weak spots on the album. This a collection of great musicians, who also prove to be great composers and arrangers. Five of the eleven tracks were composed by band members and all the arrangements are home-grown…half a dozen arrangers who can also play, that's an embarrassment of riches. My advice is to not wait on pain, just put this in your CD player and set it to ‘repeat all.' —Rod McBride Wild For You Karrin Allyson Tracks: All I Want; Don't Let Me Be Lonely Tonight; (Goin') Wild For You, Baby; Help Me; Sorry Seems to Be the Hardest Word; I Got Eyes; The Moon Is a Harsh Mistress; It's Too Late; Mind on My Man; The Right Thing to Do; Feel Like Makin' Love; The First Time Ever I Saw Your Face Personnel: Karrin Allyson - vocals, percussion, piano, Fender Rhodes; Gil Goldstein - piano, accordion, Hammond B-3, Fender Rhodes; Paul Smith - Fender Rhodes; Danny Embrey - acoustic guitar; Rod Fleeman - electric & acoustic guitars; Bob Bowman - acoustic bass; Todd Strait - drums, percussion. Recorded at Sear Sound, Studio C, New York City , December 13-16, 2003 Karrin Allyson's latest CD is a homage to the 70s, when pop songs were sung not shouted, and were, for the most part, worthy and memorable offerings. She's made some killer choices and you'll be fascinated by the extraordinary renaissance achieved via gifted arranger Gil Goldstein. He's also a renowned composer and musician, accompanying Karrin here - and offering lush solos - on the acoustic piano. Allyson's other impressive sidemen include the usual complement we've come to love and look forward to: guitarists Danny Embrey and Rod Fleeman, pianist Paul Smith (exclusively on the Fender Rhodes), bassist Bob Bowman, and drummer Todd Strait. Is Jamaica-pation a word? If not, it should be, for nothing better describes the rhythms infusing “All I Want,” a Joni Mitchell blockbuster. It flourishes in the off beat, enhanced by a beautiful, breezy Fleeman solo over Strait's whimsical percussion, then trailing off with a scat tag fade. Karrin's “Don't Let Me Be Lonely Tonight” is a sweet imploration befitting Sweet Baby James' composition. The spartan accompaniment is nonetheless tasty, punctuated by a laid back, sensual Bowman bass solo. Cat Stevens' “Wild World” seems most accommodating of a jazz tractate, with periodic scat resolutions and an articulate and swinging Goldstein piano solo. A dirge-like feel is aimed for and achieved in “(Goin') Wild For You, Baby,” written by David Batteau and Tom Snow but immortalized by Bonnie Raitt. It's a nifty chart, vocally intense over soft drum rolls with Karrin's increasingly soulful execution dissolving into a gentle but nonetheless vivid and demanding drum solo. Another inventive scat tag includes some nice guitar/vocal trades. (By the way, that's Karrin riding the Rhodes here.) Each successive phrase of “Help Me” morphs into scat afterthoughts, finally followed by Goldstein's forceful and expressive piano.The quintessential buttress, bassist Bowman also contributes some gorgeous lines. This typically unconventional Joni Mitchell original requires perfect pitch and Karrin never misses. This one takes off like a balloon in the wind; you're never sure where it's going but you can't stop watching. Elton John and Bernie Taupin's “Sorry Seems to Be the Hardest Word” translates well as Allyson's poignant passages blend with the fluent grand piano, timely cymbal accents, and bittersweet accordion solo. Melissa Manchester's “I Got Eyes” is a rangy ditty, enhanced by a great Embrey solo and yet more impressive accordion comping by the multi-talented Goldstein. And, up to now, we've heard little of Paul Smith (on the opener, “Help Me,” and “I Got Eyes”). But he shines on the next four cuts, always backing and filling with unparalleled scope. I'm embarrassed to admit I was unfamiliar with Jimmy Webb's “The Moon is a Harsh Mistress” but I'm grateful to have discovered it here, especially the transcendental lyrics, ardently voiced by Allyson. “It's Too Late” suspends Carole King's traditional straight four meter and rides a phalanx of patterns atop a 12/8 feel. The substitutions are wild. One of my favorite Carly Simon originals is “Mind on My Man,” an unorthodox mistresspiece with unusual changes, a few of which are usurped here (but cleverly so). It really lends itself to Bowman's delicate bass interlude. Karrin segues smoothly into Simon's hit, “Lovin' You's the Right Thing to Do,” a well-designed head with a tricky bridge which she negotiates with poise and polish. Roberta Flack made it famous but Eugene McDaniels wrote it; I speak of “Feel Like Makin' Love,” which begins atop a pedal tone fifth and unfolds into a vamp with Embrey's guitar riffs, Strait's inventive polyrhythyms, and Goldstein this time on the B3 organ. I'm thrilled Karrin self-accompanies on Ewan MacColl's “The First Time Ever I Saw Your face.” (Yeah, I thought Roberta wrote it, too.) I always wanted to hear more of Karrin's piano when she performed in KC and I'm happy to report that it-- and she -- sound fine. This selection features the simplest melody in the bunch, but Karrin infuses it with rich lines and converses eloquently with Danny's guitar, a contrapuntal interlude which should bring a smile to your face. It should be noted that Allyson breezes through this compendium, slightly more breathy here than in previous renderings, always fluent and effortlessly erogenic. This isn't meant to be a complaint, but the charts are so electrifying that they occasionally steal the thunder. Nevertheless, Karrin continues to stretch, and her fans will be delighted at this latest release. -- Carol Comer Bob Brookmeyer New Art Orchestra Featuring Till Brönner Get Well Soon Challenge Jazz SACHR 70111 Personnel: Bob Brookmeyer, conductor and valve trombone; Till Brönner, guest soloist trumpet; Marko Lackner, Oliver Leicht, Paul Heller, Niels van Haften, Edgar Herzog, reeds; Thorsten Benkenstein, Torsten Maaß, Sebastian Strempel, Eckhard Baur, Aneel Soomary, trumpets; Steve Trop, Christian Jaksjo, trombones; Anders Wiborg, Ed Partyka, bass trombones; Hendrik Soll, synthesizer; Kris Goessens, piano; Ingmar Heller, bass; John Hollenbeck, drums. Tracks: Tah-DUM!; Monster Rally; For You; Over Here; Interlude # 1; Lovely; Song, Sing, Sung; Interlude # 2; Elegy; Get Well Soon. Recorded August 23-25, 2002 at Bauer Studios, Ludwigsburg , Germany , Carlos Albrecht, engineer. Bob Brookmeyer & Kenny Wheeler Island Bob Brookmeyer & Kenny Wheeler Artists House Music AH0006 Personnel: Bob Brookmeyer, valve trombone; Kenny Wheeler, flugelhorn, trumpet; John Hollenbeck, drums; Jeremy Allen, bass; Frank Carlberg, piano. Tracks: Before the First Time; 114; Where Do We Go From Here?; Song for Kenny; Upstairs with Beatrice; Island ; Strange One. Recorded September 27-29, 2002 at Mix One Studios, Boston , Massachusetts , Ted Paduck, engineer. “No man is an island, entire of itself.” John Donne, Devotions upon Emergent Occasions No man is an island. Not even someone so much a part of the jazz landscape as Bob Brookmeyer. Relationships have always mattered to and motivated him. Whether active in small group or big band settings, he's been mapping frontiers with musical colleagues since the World War II era. Locally, his jazz cartography ranges from playing in the Warren Durrett Orchestra as a teenager to reuniting at age 72 with saxophonist friend Ed Dix for the 2002 quintet effort, Full Circle . Kansas City is place of origin for Brookmeyer, yet his nature and destiny extend beyond provincial or even national spheres of influence to reach a wide musical world. A classic example is the latest recording from his German-based New Art Orchestra. Get Well Soon , NAO's third release in ten years, is a singular work infused with color by a large ensemble of talented individual artists. The unifying force is masterful orchestration and conducting by Brookmeyer. His solo turns reveal plenty left to say as player as well. He told a British reporter a half century or so ago, “Of course jazz is an art!” The album – full of demanding compositions, sophisticated sounds, and upbeat affirmations – is a museum quality fine-art offering with swinging street-corner appeal. The cumulative years of jazz experience represented by the full NAO merely rivals the combined careers of Brookmeyer and flugelhornist Kenny Wheeler. Coming together for Island , their collaboration suggests the presence of greatness. Seven all-original compositions permeate the album with beauty, sweetness, and love. A DVD jam-packed with special features is also included for free with the music CD. Though Brookmeyer is old school in the best conservatory-classical and traditional-jazz senses, he remains at the leading edge in both message and medium. Brookmeyer occupies a formidable place on the music continent while his identity involves multiple dimensions. Complex person and simple lover of cats. Icon and iconoclast. Outspoken social critic and devoted husband. Faithful friend and musical genius. All in one, he's an enduringly important figure in the geography of jazz. Island and Get Well Soon are worthy additions to the prolific Brookmeyer atlas and highly recommended stops along any listening sojourn. -- Tom Fredrick RETURN TO AUGUST/SEPTEMBER 2004 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2004. All rights reserved.