JAM: August/September 2005 Issue: For the Record

Alaadeen
New Africa Suite
ASR Records-2005
Personnel: Tracks 1-6: Alaadeen, soprano and tenor saxophone; Harold O'Neal, piano; Seth Lee, bass; Donivan Bailey, drums; Ray Stewart, percussion.

Track 7: Alaadeen, soprano saxophone; Christopher Clarke, piano; Tyrone Clark, electric bass; Michael Warren, drums; Ray Stewart, percussion. Tracks: Grace; Beneath Where Rivers Flow; Salaam, Shalom, Peace; The Burning Sand; Time's Up; Home Again; The Jannah Now.

Tracks recorded July 22, 2004, and February 21, April 21, and May 5, 2005, Airborne Audio Productions, Lenexa, KS. Engineer: Don Miller. Mastered by Don Miller, Airborne Audio Productions.

On a snowy winter afternoon a few years back I happened to be browsing in a local used CD store. I longed to be inside a jazz club, whiling away the hours listening to music. The snow kept me close to home, so instead I inquired if they had anything produced by Kansas City jazz artists. The clerk led me over to the “local artists” section and grabbed Time Through the Ages by Alaadeen. I listened and was hooked.

Alaadeen's sound was reminiscent of old-school Bebop, but had a more updated and clearer sound. This shouldn't come as a big surprise from a man who grew up a few doors down from Jay McShann, was a student of Leo H. Davis (reportedly Charlie Parker's teacher), and has played sax with some of biggest names in jazz history, such as Billie Holiday, Miles Davis, and Ella Fitzgerald to name a few. His sound, enhanced by five decades in the industry, is honed to listening perfection by his ensemble.

New Africa Suite is Alaadeen's first release since Time Through the Ages, which was released over five years ago. Whereas the last release had a mix of standard favorites and original compositions, New Africa Suite is comprised entirely of works composed and produced by the artist himself. With the able assistance of an ensemble comprised of other Kansas City musicians, New Africa Suite will place the listener in that noisy smoke-filled jazz club you are yearning for.

The disc clearly has a worldly sound to it. At some point on every track, each musician has a chance to showcase his own talents. The spiritual infusion that Alaadeen has given the tracks, coupled with the unique riffs and bleats, gives each particular track a distinct feel and mood all its own.

From the opening beats of “Grace” it is clear that Alaadeen is setting the worldly tone alluded to in the title. Tribal sounds and Donivan Bailey's drum riffs emanate from the speakers from the beginning and bleed throughout the entire track. The feel is one of improvisation and a foot-stomping good time. “Beneath Where Rivers Flow” takes on a decidedly different feel and is clearly more laid back than the opening track, allowing the listener to settle in for the rest of the CD. Harold O'Neal's manipulation of the ivories evokes the feel of a cascading river.

Again we get a good healthy dose of O'Neal's piano skills with a couple of quick solos in “Salaam, Shalom, Peace.” This track also allows us to get a better feel and sound for Alaadeen's talents with the tenor saxophone. Groove with Alaadeen's big and rich notes as they just flow from his sax and take us right into the next track “The Burning Sand,” a bit more up-tempo, but still a smooth, slow groove.

“Time's Up” starts off with a quick cool bass solo that quickly blends in with the tenor sax followed by the rest of the ensemble. The only respite from the upsurge in tempo is a brief piano and bass interlude about halfway through the song and again rounding out the track. Alaadeen kicks off “Home Again” with some mean notes on his tenor sax. The master shines on this track and shows why he has played with some of the greatest jazz musicians over the past half-century. It's a wonder his name is not bigger in the industry.

On the final track, “The Jannah Now,” Alaadeen moves in a new ensemble comprised of other local artists and includes an electric bass to give a different feel to this track, more up-tempo with a little bit of funk thrown in, but still laid back enough to dig in and really get into the groove of the music.

Recorded in the famed Airborne Audio Productions studio, these tracks allow a world beat to flow throughout the disc, but continues to infuse the feel of Kansas City jazz into the compositions. “Jannah,” from the final track, is the Islamic word for Paradise, and that is exactly what Alaadeen presents with New Africa Suite—Paradise.

—Tristan Smith

Eugene Chadbourne with Malachy Papers
Chadbirish Euck
Personnel: Eugene Chadbourne, guitar, banjo, and vocals; Mark Southerland, tenor saxophone, electric saxophone, 8-track manipulation, homemade instruments; Mike Dillon, drums, percussion, vibraphone, etc.; Johnny Hamill, acoustic and electric bass.

Tracks: The Cat in the Corner; I Know What You Like (studio version); Smash the Windows; Beat It; Munro Jumper; Breakin' the Law Every Day; Wallop the Pot Lid; River Man; I Know What You Like (live version).

Recorded live and in the studio. Engineer Chad Meise. 2005.

This “Irish” Jazz album, entitled Chadbirish Euck, consists of nine tracks recorded over St. Patrick's Day weekend in Kansas City in 2005. Five of the tracks are traditional fiddle tunes arranged by Dr. Chadbourne.

Track one includes wonderful interplay between the sections, featuring some tasty set work by Mike Dillon, as well as great subtle bass work; musical craftsmanship that, at times, sounds like a guitar soloing over an intricate vamp. It is, in two words, very live.

Track two exhibits a traditional Gaelic feel, an arrangement of an old tune with a new flavor, a lively, maybe even rowdy, feel. And this seems to be the somewhat unmentioned concept for the album, aptly titled Chadbirish Euck, a combination of words generated by a comment mumbled by “a drunk...on his way out the door on one of the gigs” that is somewhat unmentionable, “Thanks for the Irish (bleep),” with, as the liner notes remark the “UK included...to boot” (Dr. Chad, liner notes).

Track three contains a jug band feel, including a banjo-sounding instrument. Some of what sounds like 8-track manipulation is reminiscent of those happy accidents one finds when a LP needle skips a beat when listening at home, or the call of birds (or audience members) in the background applauding in an old-fashioned way. Moreover, it is a joining of the electronic and the old-timey sound.

Dr. Chadbourne, a persona perhaps, writes his own liner notes for this album. which to some might seem a stretch in the straight-ahead, prominent three jazz world, but to others is another brilliant recording from the group once known simply as Malachy Papers.

As “Dr. Chad” writes in the liner notes, “It was the annual Chadfest event in the city with myself and the Malachy Papers band, but since it was St. Paddy's I wanted to play some Irish music that's a tradition for me on that day [sic], like making green pancakes in the morning” (paragraph 1, page 1).

Chad continues: “Some may wonder still about other material here, not realizing that Michael Jackson and Eddie Van Halen ripped of the ‘Beat It' riff from an Irish jig; it could also be included just because it is topical circa 2005” (paragraph 4). Blending melodic lines from popular and traditional tunes, the album hearkens toward the sound of a bygone era, perhaps the ‘20s.

Recorded over the St. Patrick's Day weekend in Kansas City this year, as well as partly in the studio, Malachy Papers have brought out another fine avant-garde album. To order Chadbirish Euck, pick up a copy at Recycled Sounds or go to: www.malachypapers.com

—Kevin Rabas

Kathleen Holeman
I'm All Smiles
RK Sound KH003

Personnel: Kathleen Holeman, vocals; Paul Smith, piano; Rod Fleeman and Danny Embrey, guitar; Bob Branstetter, bass; Al Wiley, drums; Terry Brock, violin; Jay Sollenberger, Barry Springer, Steve Malloy, trumpets; Ron Stinson, K.C. Slide Show; Rich Coble, Steve Dekker, Jim Cann, Phil Thomas, Rob Koester, trombones.

Tracks: I'm All Smiles; Love Dance; In the Still of the Night; Why Did I Choose You; Your Smiling Face; Spring Can Really Hang You Up the Most; I Let a Song Get Out of My Heart; Smile; Lush Life; Smile All the While; Close Enough For Love; Autumn Nocturne; The Bare Necessities.

Recorded August 2004–April 2005 at Soundtrek Studios. Engineer: Ron Ubel

Kathleen Holeman touches all the bases in this new release. Backed by the always swinging Paul Smith, Rod Fleeman, Al Wiley, and Bob Branstetter, she opens with the title cut “I'm All Smiles” in which she shows she can scat with the best of them.

She follows with a sultry “Love Dance” in which Smith and Branstetter stand out. Her version of Cole Porter's “In the Still of the Night” gives us the chance to admire her versatility. With Al Wiley, Branstetter, and Smith leading the way, Holeman takes this classic at breakneck speed to a successful conclusion.

“Why Did I Choose You” gives us a chance to catch our breath. This is Holeman's tender side, and her range stands out.

The mood is happier as the entire group has fun with James Taylor's “Your Smiling Face.” Fleeman gets a chance to stretch out here, taking a swinging solo. On “I Let a Song Get Out of My Heart” violinist Terry Brock leaves us wanting more as he romped through Duke's gem.

“Smile” is more of the tender side of Kathleen's art, a tenderness that evoked some memories of jazz lounges of the past.

“Smile All the While” is from Kathleen's pen, featuring Rich Coble on trombone backed by Smith's reliable piano. In “Autumn Nocturne” she exhibits super pitch control as she just glides through the tune.

“The Bare Necessities” is not bare at all. This is where the whole band gets to stretch out. The K.C. Slide Show trombones help Kathleen leave us smiling.

I must admit that I was not familiar with Ms. Holeman's talents, but she has made a believer out of me. Her versatility, pitch, phrasing, and ability to attract the best of Kansas City's musicians make this a keeper for me.

—Don Merker

The Gary Sivils Quintet
Pretty WILD
Personnel: Gary Sivils, cornet; Hal Melia, tenor sax; Paul Smith, piano, synth; Bob Bowman, acoustic bass; Todd Strait, Tommy Ruskin, drums; Kim Park, alto sax; Kim Sivils – piano

Tracks: On a Slow Boat to China; A Night In Tunisia; My Old Flame; When You're Smiling; When You Wish Upon a Star; How Insensitive; Angel Eyes; Alice In Wonderland; Gee Baby, Ain't I Good to You; Here's That Rainy Day

Co – produced by Gary Sivils and Paul Smith; Recorded and mixed at Soundtrek Studios Kansas City, MO; Engineer - Ron Ubel; Computer Guru – Jeff Schiller.

Take my advice! Do yourself a favor and check out Kansas City's jazz cornetist extraordinaire Gary Silvis' new opus magnus. It's great. I just had the wonderful opportunity to listen to Gary's (and friends) new CD while on a long road trip through the Badlands of South Dakota. Gary's wonderful music made the long and monotonous trip much more enjoyable. This CD made the miles fly by.

The personnel on this outing were all extremely top notch and in good form as usual. The rhythm section of Todd Strait, Bob Bowman and Paul Smith grooves nonstop. I thoroughly enjoyed the new arrangements, which breathed new life into some tried and true standards, as well as the thoughtful playing by each of the talented musicians featured on this particular road trip. The entire CD is packed full of exuberance and energy. Simply put…lots of fun.

There is a wide variety of music on this collection from On a Slow Boat to China (with a fantastic alto solo by Kim Park) to an otherworldly, almost dream like version of Angel Eyes. Some of the highlights include a fresh sounding version of Leigh Harline & Ned Washington's standard, When You Wish Upon A Star, wonderfully served up in three. This rendition begins with bassist Bob Bowman playing the head, followed by Gary, who enters with plenty of nice material that “magically” evolves into another Disney classic, Someday My Prince Will Come, by another Disney composer Frank Churchill. The transition between the two tunes was virtually seamless and was a nice surprise. (I'm not sure of the connection between these two tunes other than the fact that a composer by the name of Paul Smith worked with Harline and Churchill at Disney, coincidence…hmm.) Speaking of magic, I was blown away by the haunting beauty evoked in this arrangement of Angel Eyes. I thought this track was absolutely stunning. Engineer Ron Ubel and Gary worked some sound sorcery with the use of delay and the result was an incredible tapestry of rich and sumptuous sonic textures. The sounds that Gary was able to produce on this track had me wondering if it was the same player. I immediately listened to this track again. The version of A Night in Tunisia really swings- with excellent solo work by all, in particular, Hal Melia on tenor. There is also a spirited, up- tempo version of When You're Smiling that will soon have you doing just that. These guys make it look so easy.

It is easy to hear how much fun the musicians are having on this session, I think their enthusiasm is so contagious it is almost impossible not to get caught up in it. I was happy to hear that Gary's CD release party at Jardine's was standing room only. As I said earlier, do yourself a favor get “Sivilized” and check out Gary's latest and greatest.

—John Blair II aka The Shadow






	Search our site:		Alaadeen New Africa Suite ASR Records-2005 Personnel: Tracks 1-6: Alaadeen, soprano and tenor saxophone; Harold O'Neal, piano; Seth Lee, bass; Donivan Bailey, drums; Ray Stewart, percussion. Track 7: Alaadeen, soprano saxophone; Christopher Clarke, piano; Tyrone Clark, electric bass; Michael Warren, drums; Ray Stewart, percussion. Tracks: Grace; Beneath Where Rivers Flow; Salaam, Shalom, Peace; The Burning Sand; Time's Up; Home Again; The Jannah Now. Tracks recorded July 22, 2004, and February 21, April 21, and May 5, 2005, Airborne Audio Productions, Lenexa, KS. Engineer: Don Miller. Mastered by Don Miller, Airborne Audio Productions. On a snowy winter afternoon a few years back I happened to be browsing in a local used CD store. I longed to be inside a jazz club, whiling away the hours listening to music. The snow kept me close to home, so instead I inquired if they had anything produced by Kansas City jazz artists. The clerk led me over to the “local artists” section and grabbed Time Through the Ages by Alaadeen. I listened and was hooked. Alaadeen's sound was reminiscent of old-school Bebop, but had a more updated and clearer sound. This shouldn't come as a big surprise from a man who grew up a few doors down from Jay McShann, was a student of Leo H. Davis (reportedly Charlie Parker's teacher), and has played sax with some of biggest names in jazz history, such as Billie Holiday, Miles Davis, and Ella Fitzgerald to name a few. His sound, enhanced by five decades in the industry, is honed to listening perfection by his ensemble. New Africa Suite is Alaadeen's first release since Time Through the Ages, which was released over five years ago. Whereas the last release had a mix of standard favorites and original compositions, New Africa Suite is comprised entirely of works composed and produced by the artist himself. With the able assistance of an ensemble comprised of other Kansas City musicians, New Africa Suite will place the listener in that noisy smoke-filled jazz club you are yearning for. The disc clearly has a worldly sound to it. At some point on every track, each musician has a chance to showcase his own talents. The spiritual infusion that Alaadeen has given the tracks, coupled with the unique riffs and bleats, gives each particular track a distinct feel and mood all its own. From the opening beats of “Grace” it is clear that Alaadeen is setting the worldly tone alluded to in the title. Tribal sounds and Donivan Bailey's drum riffs emanate from the speakers from the beginning and bleed throughout the entire track. The feel is one of improvisation and a foot-stomping good time. “Beneath Where Rivers Flow” takes on a decidedly different feel and is clearly more laid back than the opening track, allowing the listener to settle in for the rest of the CD. Harold O'Neal's manipulation of the ivories evokes the feel of a cascading river. Again we get a good healthy dose of O'Neal's piano skills with a couple of quick solos in “Salaam, Shalom, Peace.” This track also allows us to get a better feel and sound for Alaadeen's talents with the tenor saxophone. Groove with Alaadeen's big and rich notes as they just flow from his sax and take us right into the next track “The Burning Sand,” a bit more up-tempo, but still a smooth, slow groove. “Time's Up” starts off with a quick cool bass solo that quickly blends in with the tenor sax followed by the rest of the ensemble. The only respite from the upsurge in tempo is a brief piano and bass interlude about halfway through the song and again rounding out the track. Alaadeen kicks off “Home Again” with some mean notes on his tenor sax. The master shines on this track and shows why he has played with some of the greatest jazz musicians over the past half-century. It's a wonder his name is not bigger in the industry. On the final track, “The Jannah Now,” Alaadeen moves in a new ensemble comprised of other local artists and includes an electric bass to give a different feel to this track, more up-tempo with a little bit of funk thrown in, but still laid back enough to dig in and really get into the groove of the music. Recorded in the famed Airborne Audio Productions studio, these tracks allow a world beat to flow throughout the disc, but continues to infuse the feel of Kansas City jazz into the compositions. “Jannah,” from the final track, is the Islamic word for Paradise, and that is exactly what Alaadeen presents with New Africa Suite—Paradise. —Tristan Smith Eugene Chadbourne with Malachy Papers Chadbirish Euck Personnel: Eugene Chadbourne, guitar, banjo, and vocals; Mark Southerland, tenor saxophone, electric saxophone, 8-track manipulation, homemade instruments; Mike Dillon, drums, percussion, vibraphone, etc.; Johnny Hamill, acoustic and electric bass. Tracks: The Cat in the Corner; I Know What You Like (studio version); Smash the Windows; Beat It; Munro Jumper; Breakin' the Law Every Day; Wallop the Pot Lid; River Man; I Know What You Like (live version). Recorded live and in the studio. Engineer Chad Meise. 2005. This “Irish” Jazz album, entitled Chadbirish Euck, consists of nine tracks recorded over St. Patrick's Day weekend in Kansas City in 2005. Five of the tracks are traditional fiddle tunes arranged by Dr. Chadbourne. Track one includes wonderful interplay between the sections, featuring some tasty set work by Mike Dillon, as well as great subtle bass work; musical craftsmanship that, at times, sounds like a guitar soloing over an intricate vamp. It is, in two words, very live. Track two exhibits a traditional Gaelic feel, an arrangement of an old tune with a new flavor, a lively, maybe even rowdy, feel. And this seems to be the somewhat unmentioned concept for the album, aptly titled Chadbirish Euck, a combination of words generated by a comment mumbled by “a drunk...on his way out the door on one of the gigs” that is somewhat unmentionable, “Thanks for the Irish (bleep),” with, as the liner notes remark the “UK included...to boot” (Dr. Chad, liner notes). Track three contains a jug band feel, including a banjo-sounding instrument. Some of what sounds like 8-track manipulation is reminiscent of those happy accidents one finds when a LP needle skips a beat when listening at home, or the call of birds (or audience members) in the background applauding in an old-fashioned way. Moreover, it is a joining of the electronic and the old-timey sound. Dr. Chadbourne, a persona perhaps, writes his own liner notes for this album. which to some might seem a stretch in the straight-ahead, prominent three jazz world, but to others is another brilliant recording from the group once known simply as Malachy Papers. As “Dr. Chad” writes in the liner notes, “It was the annual Chadfest event in the city with myself and the Malachy Papers band, but since it was St. Paddy's I wanted to play some Irish music that's a tradition for me on that day [sic], like making green pancakes in the morning” (paragraph 1, page 1). Chad continues: “Some may wonder still about other material here, not realizing that Michael Jackson and Eddie Van Halen ripped of the ‘Beat It' riff from an Irish jig; it could also be included just because it is topical circa 2005” (paragraph 4). Blending melodic lines from popular and traditional tunes, the album hearkens toward the sound of a bygone era, perhaps the ‘20s. Recorded over the St. Patrick's Day weekend in Kansas City this year, as well as partly in the studio, Malachy Papers have brought out another fine avant-garde album. To order Chadbirish Euck, pick up a copy at Recycled Sounds or go to: www.malachypapers.com *—Kevin Rabas* Kathleen Holeman I'm All Smiles RK Sound KH003 Personnel: Kathleen Holeman, vocals; Paul Smith, piano; Rod Fleeman and Danny Embrey, guitar; Bob Branstetter, bass; Al Wiley, drums; Terry Brock, violin; Jay Sollenberger, Barry Springer, Steve Malloy, trumpets; Ron Stinson, K.C. Slide Show; Rich Coble, Steve Dekker, Jim Cann, Phil Thomas, Rob Koester, trombones. Tracks: I'm All Smiles; Love Dance; In the Still of the Night; Why Did I Choose You; Your Smiling Face; Spring Can Really Hang You Up the Most; I Let a Song Get Out of My Heart; Smile; Lush Life; Smile All the While; Close Enough For Love; Autumn Nocturne; The Bare Necessities. Recorded August 2004–April 2005 at Soundtrek Studios. Engineer: Ron Ubel Kathleen Holeman touches all the bases in this new release. Backed by the always swinging Paul Smith, Rod Fleeman, Al Wiley, and Bob Branstetter, she opens with the title cut “I'm All Smiles” in which she shows she can scat with the best of them. She follows with a sultry “Love Dance” in which Smith and Branstetter stand out. Her version of Cole Porter's “In the Still of the Night” gives us the chance to admire her versatility. With Al Wiley, Branstetter, and Smith leading the way, Holeman takes this classic at breakneck speed to a successful conclusion. “Why Did I Choose You” gives us a chance to catch our breath. This is Holeman's tender side, and her range stands out. The mood is happier as the entire group has fun with James Taylor's “Your Smiling Face.” Fleeman gets a chance to stretch out here, taking a swinging solo. On “I Let a Song Get Out of My Heart” violinist Terry Brock leaves us wanting more as he romped through Duke's gem. “Smile” is more of the tender side of Kathleen's art, a tenderness that evoked some memories of jazz lounges of the past. “Smile All the While” is from Kathleen's pen, featuring Rich Coble on trombone backed by Smith's reliable piano. In “Autumn Nocturne” she exhibits super pitch control as she just glides through the tune. “The Bare Necessities” is not bare at all. This is where the whole band gets to stretch out. The K.C. Slide Show trombones help Kathleen leave us smiling. I must admit that I was not familiar with Ms. Holeman's talents, but she has made a believer out of me. Her versatility, pitch, phrasing, and ability to attract the best of Kansas City's musicians make this a keeper for me. *—Don Merker* The Gary Sivils Quintet Pretty WILD Personnel: Gary Sivils, cornet; Hal Melia, tenor sax; Paul Smith, piano, synth; Bob Bowman, acoustic bass; Todd Strait, Tommy Ruskin, drums; Kim Park, alto sax; Kim Sivils – piano Tracks: On a Slow Boat to China; A Night In Tunisia; My Old Flame; When You're Smiling; When You Wish Upon a Star; How Insensitive; Angel Eyes; Alice In Wonderland; Gee Baby, Ain't I Good to You; Here's That Rainy Day Co – produced by Gary Sivils and Paul Smith; Recorded and mixed at Soundtrek Studios Kansas City, MO; Engineer - Ron Ubel; Computer Guru – Jeff Schiller. Take my advice! Do yourself a favor and check out Kansas City's jazz cornetist extraordinaire Gary Silvis' new opus magnus. It's great. I just had the wonderful opportunity to listen to Gary's (and friends) new CD while on a long road trip through the Badlands of South Dakota. Gary's wonderful music made the long and monotonous trip much more enjoyable. This CD made the miles fly by. The personnel on this outing were all extremely top notch and in good form as usual. The rhythm section of Todd Strait, Bob Bowman and Paul Smith grooves nonstop. I thoroughly enjoyed the new arrangements, which breathed new life into some tried and true standards, as well as the thoughtful playing by each of the talented musicians featured on this particular road trip. The entire CD is packed full of exuberance and energy. Simply put…lots of fun. There is a wide variety of music on this collection from On a Slow Boat to China (with a fantastic alto solo by Kim Park) to an otherworldly, almost dream like version of Angel Eyes. Some of the highlights include a fresh sounding version of Leigh Harline & Ned Washington's standard, When You Wish Upon A Star, wonderfully served up in three. This rendition begins with bassist Bob Bowman playing the head, followed by Gary, who enters with plenty of nice material that “magically” evolves into another Disney classic, Someday My Prince Will Come, by another Disney composer Frank Churchill. The transition between the two tunes was virtually seamless and was a nice surprise. (I'm not sure of the connection between these two tunes other than the fact that a composer by the name of Paul Smith worked with Harline and Churchill at Disney, coincidence…hmm.) Speaking of magic, I was blown away by the haunting beauty evoked in this arrangement of Angel Eyes. I thought this track was absolutely stunning. Engineer Ron Ubel and Gary worked some sound sorcery with the use of delay and the result was an incredible tapestry of rich and sumptuous sonic textures. The sounds that Gary was able to produce on this track had me wondering if it was the same player. I immediately listened to this track again. The version of A Night in Tunisia really swings- with excellent solo work by all, in particular, Hal Melia on tenor. There is also a spirited, up- tempo version of When You're Smiling that will soon have you doing just that. These guys make it look so easy. It is easy to hear how much fun the musicians are having on this session, I think their enthusiasm is so contagious it is almost impossible not to get caught up in it. I was happy to hear that Gary's CD release party at Jardine's was standing room only. As I said earlier, do yourself a favor get “Sivilized” and check out Gary's latest and greatest. —John Blair II aka The Shadow RETURN TO AUGUST/SEPTEMBER 2005 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2005. All rights reserved.