JAM: October/November 2006 Issue: For the Record

Kelly McCarty Trio
Common Anomaly
Little Apple Records CD0006

Personnel: Kelly McCarty, 8-String; Brandon Hoffman, sax; Matt Leifer, drums; Brian Patterson, keys (tracks 4 and 8); Cedric Hunt, vocals (track 6)

Tracks: Bing Bung; Equinox; Nardis; Percula; Recordame; We Were Alright; Naima; Sarah Goldfarbe

Recorded by Matt “Yellow Dart” Kosinski for Flint Hills Music. Mastered by David Brown for Brown Bear Studio

Kelly McCarty plays the 8-String, which seems like a guitar/bass guitar hybrid. It is the instrument that Charlie Hunter has used to produce his unique sound. It can handle bass lines, solo lines, and rhythm guitar-like comping (which in this case, through some handy electronics, often sounds like an electric organ).

McCarty's trio is cut from the same mold as the great bar bands of recent times, such as Hunter's trio and Medeski, Martin, and Wood. The rhythms have more in common with rock, funk, hip-hop, and reggae than with mainstream jazz. These rhythms provide the base upon which McCarty and Hoffman take their excursions.

The song list is evenly split between originals and familiar jazz compositions. “Bing Bung” would appear to be a nod towards Hunter. Funk with a backbeat switch-off with a jazz 4/4. Saxophonist Hoffman, a Washburn student, reminds of Josh Sclar, the original sax man in the Westport Art Ensemble, or Alex Foster, who played in Jack DeJohnnette's 1970's band: similar lines with a dry tone. “Equinox” is played over a reggae rhythm. You'll enjoy how Leifer aggressively pushes behind Hoffman on his solo. Leifer then solos, intensity staying in place, McCarty riffing behind. All this energy gives the impression of the tune being played faster than it actually is. Somewhere the reggae feels diminished, but McCarty reminds us where we started before the final theme statement.

“Nardis” also has some backbeat; the repertoire says “jazz club,” the presentation is more “bar band.” Hoffman continues with another effective solo statement.

“Percula” adds pianist Brian Patterson to the mix, giving the band more of a “jazz club” feel. McCarty is freed of his comping responsibilities here, concentrating on the bass part of his duties. Patterson takes a melodic approach to his solo. “Recordame” is rhythmically similar to the Joe Henderson original, but the organ-like comping gives it a much different feel. For one, it beckons Liefer to get stray from the bossa nova behind Hoffman's solo. How Brandon keeps his cool during these fireworks is beyond me.

The band supports poetry on “We Were Alright,” a stream of consciousness from Cedric Hunt. “Naima” features a fine bass solo from McCarty. The tension built under Hoffman's solo on “Sarah Goldfarbe,” much from Patterson's keyboard slashes, make this no cure for folks with a hypertension problem. The most searing of the Foster/Abercrombie era DeJohnnette band is a reasonable point of comparison.

The McCarty Trio has delivered an interesting premier recording, one that should quench one's thirst for creative improvisation in a modern rhythmic setting.

Laura Ellis
Here Lies Love
King Record Co., Inc. – 2005

Personnel: David Parsley, Tenor Sax, Straight Tenor Sax, Soprano Sax, and Vocals; Laura Ellis, Lead and Background Vocals; John Rodby, Piano and Synthesizer; Mark Stevens, Drums and Percussion; Harvey Newmark, Bass; John Chiodini, Acoustic Guitar; Terry Harrington, Saxophone; Alan Paul, Background Vocals.

Tracks: Moonray, I Wanna be Loved, Little Paper Ball, Lonely Woman, Here Lies Love, Exasperada, Tea for Two (Tribute to Anita Day), Let's Live Again, Blue Gardenia, My Shining Hour.

Tracks recorded and engineered by Wayne Cook at Wayne Cook Studios in Glendale , CA. Produced: Alan Paul. Arranged and conducted: John Rodby.

Here Lies Love is Kansas City native Laura Ellis' debut on King Records. Ellis donates the entire run of this recording to the likes of jazz greats Dinah Washington and Sarah Vaughan, and throws in a tribute to Anita Day along the way. She gives her own unique and sophisticated take on legendary songs such as “Blue Gardenia,” “Moonray,” and “Tea for Two.” Produced by the legendary Alan Paul of Manhattan Transfer, Here Lies Love samples standards such as ballads and even gives a tune or two a touch of Latin flavor, but Ellis remains true to the simple heart of jazz.

Raised in Kansas City , Laura Ellis started honing her vocal talents at the early age of ten by singing along with her father's records. Attending Kansas State University , Laura moved onto venues larger than her living room. In Manhattan , Ellis trained in dance and vocal performance and toured the United States singing as a member of the K-State Singers. Following graduation, the Wildcat moved to Los Angeles where she began her professional career as both a singer and as an actress where she made appearances in “Make Me Laugh,” the History Channel's “Route 66,” HBO's “Carnivale,” and appeared in an ad for Avandia with her singing idol, Della Reese. On stage, Ellis performed a one-woman show called “The Vintage Voice,” performed as a member of the all-girl vocal group The Wonderelles, which honored the girl groups of the 1940s, ‘50s and ‘60s.

First up is the Artie Shaw great “Moonray.” Ellis' silky voice is a stream of liquid through this wonderful rendition with simple backup instrumentals. Dinah Washington made “I Wanna Be Loved” a classic, never to be outdone by any other artist. Ellis comes close. Her take on “I Wanna Be Loved” is flawless and Washington-esque. It takes a true jazz vocalist to capture the essence of Dinah Washington , and Ellis succeeds at it.

The fast pace and staccato tempo of “Little Paper Ball” is a hep tune and brings to mind a late 1950s jazz scene. A little bit of Latin steam from the band and some quick manipulation of the vocals of Ellis should bring a hefty Salud! The ballad “Lonely Woman” has a sadness to it that is captured by Ellis in just a single line and then she continues the trend with the title track “Here Lies Love.” The Portuguese love song “Exasperada” reads like a poem and while Ellis provides the English translation to the lyrics in the liner notes, her heartfelt rendering of this emotional ballad gives the listener enough emotion to translate the song in their own hearts.

Following a couple of ballads, Ellis turns right around and gives the listener a vibrant rendition of “Tea For Two.” This tribute to Anita Day proves that Ellis should be a mainstay in jazz circles for years to come and features an amazing mix of Mark Stevens on the drums, Harvey Newmark on the bass, and John Rodby on the piano. “Let's Live Again,” made famous by the George Shearing Quintet, features a great scat session by Ellis who is accompanied by Steven's impressive percussion. Next up is Bob Russell and Lester Lee's “Blue Gardenia,” another Dinah Washington classic from the 1950s, and Ellis once again rivals the master. Rounding out the release is “My Shining Hour,” the Howard Arlen and Johnny Mercer tune from the 1943 Fred Astaire film The Sky's the Limit . This is a most appropriate song to end the CD on. Quick and upbeat featuring every performer from Here Lies Love, this track also tells the listener that Ellis is truly in her shining hour, but she still has more to come.

The release of Here Lies Love comes in support of her first Japanese tour with additional tour dates yet to be announced for the United States . Laura's voice is amazing and harkens to mind the classic jazz greats of old. She proves that she can take on numerous jazz styles with ease. Her delivery is superb, capturing the feeling of these songs not just with the words, but with an underlying feeling. Hopefully, Laura Ellis will be a jazz vocalist mainstay. Pick up this CD and you will not be disappointed.

—Tristan Smith

Jim Self
Innerplay
Basset Hound Music, 2005 ( www.bassethoundmusic.com )

Featured personnel : Jim Self, tuba and fluba; Gary Foster, reeds and flutes; Pete Christlieb, tenor sax; Dan Higgins, alto sax; total of 45 other musicians over three recording sessions—pianos, guitars, harp, vibes, percussion, basses, drums, and strings. Arranged and conducted by Brad Dechter.

Tracks : Speak Like a Child (Herbie Hancock); There Is No Greater Love (Isham Jones); Pensativa (Clare Fischer); I Loves You Porgy/Bess You is My Woman (George Gershwin); Cipriana (Steve Hustetter); That Morning in May (Jim Self); The Underdog Has Risen (Brad Dechter); No More Blues (Antonio Carlos Jobim); Strollin' (Horace Silver); Do You Know What it Means to Miss New Orleans? (Louis Alter).

Jim Self plays tuba. And all manner of other lower brass instruments, including his own invention, the fluba (a hybrid tuba/flugelhorn). But who plays tuba/fluba as a melody instrument? These days, it's usually Self, i.e. rare. But it is very well done, especially here.

These three recording sessions mix Self's special artistry with the playing of numerous colleagues and friends. Most have been first-chair players on countless film and TV soundtracks. Composers are shown in the play list to indicate the wide range of material included, an ingenious, tasty mix of standards and originals.

Duke Ellington, Clare Fischer, and most other eminent American composers, arrangers, and musicians—jazz, pop, and classical—would say that good music is just good music, whether for big or small groups, scored or improvised, or combining arrangements with improvisation. Innerplay underlines this truth. It is charming, edifying, satisfying music in a jazz vein, with warm instrumental colors, comfortable tempos, and fresh voicings—especially because of Self's tuba and fluba artistry plus the highly personal styles of the featured soloists—in different settings or styles on each track. In particular, reedsman/flutist Gary Foster's contributions to these sessions are particularly noteworthy and valuable.

Spending a weekend with this CD will smooth you out. It would keep you good company through a long night on the road or in the air. Rare, but well done, indeed.

Jerry Hahn
Hahn Solo
Migration Records 101

Personnel: Jerry Hahn, guitar

Tracks: My Funny Valentine; Days of Wine and Roses; Polka Dots and Moon Beams; What a Friend We Have in Jesus; Stella by Starlight; Darn That Dream; My One and Only Love; Angel Eyes; Sophisticated Lady; Prelude to a Kiss; There is No Greater Love; God Bless the Child; As the Deer

Jerry Hahn has been a Midwestern guitar legend for years. After making a name in the 1960s with bands led by Gary Burton and John Handy, he was on the faculty of Wichita State University for fifteen years, spent time on the West Coast and Denver, and then settled in Wichita a couple of years ago.

There are a handful of solo guitar recordings that go in the classic category. Joe Pass ' Virtuoso series comes immediately to mind. I have often thought of these recordings as perfect music for a weekend morning, when it's quiet in the house, and it is easy to dip in to some intimate sounds.

Add Hahn Solo to that short list of weekend morning recordings.

Hahn has selected a group of familiar ballads plus a hymn for this recital. “My Funny Valentine” starts as a true ballad, then evolves into an easy swing. Hahn has the ability to multitask, simultaneously comping and supplying bass lines, or comping behind a solo line, or having a walking bass line with the melody line. It often sounds like multiple instruments, but we all know it's not.

“Days of Wine and Roses” shows Jerry's strong swing feel; you'll feel the rhythm just as sure as if Blakey was sitting back there somewhere. “Polka Dots and Moonbeams” has the most beautiful chords to ever be heard at a country dance (in a garden). “Darn That Dream” has more of the “two guitar” feel; hear that second voice, the midrange, early in the second solo chorus?

“My One and Only Love” stays at the ballad tempo; the tune has a bridge that seems dramatic to me, and maybe it's Hahn that just made me realize it. “Stella by Starlight” shows his ability to create melody. And listen to his horn section-like riffs punctuating the out chorus.

Hahn is never out of control in his playing. Oh, there are some lightening-fast runs in his “Sophisticated Lady” solo and an ascending line with some bluesy chord exclamation marks that might cause you to spill some coffee in the first solo chorus in “Darn That Dream,” but he's never at those torrid Pass-like tempos when Joe would seem to be hanging off a ledge. Hahn's playing is all about the pretty chords, the right counterpoint, and swing.

Hahn's guitar, by the way, is a 1951 Gibson L-4 arch-top, a picture of which adorns the cover. This guitar was a gift from Bill Frisell, after they had worked together on a Ginger Baker recording. It's a thing of beauty to the eye, and Jerry Hahn makes it a beauty to the ear as well.

The only question is whether this recording is for Saturday morning, Sunday morning, or both.

This CD is available from Hahn's Web site, www.jerryhahn.com .

Roger Atkinson

Pat Metheny and Brad Mehldau
Metheny/Mehldau
Nonesuch Records

Personnel: Pat Metheny, guitar; Brad Mehldau, piano; Larry Grenadier, bass (tracks 4 and 7); Jeff Ballard, drums (tracks 4 and 7)

Tracks: Listed below, in order

Recorded in December, 2006, Right Track Recording, New York City

It's always satisfying to know that Pat Metheny never fails to find artists who are on his artistic level, in spite of the fact that this list seems to grow shorter ever year—he just keeps getting better, and one wonders if he'll run out of new people to play with at some point. On Metheny/Mehldau , the simple yet elegant two-toned cover art, along with the obviously understated title, gives some insight as to what's in store for us here—no frills, just straight talk from two artists who have nothing left to prove beyond their own sense of adventure.

‘Unrequited,' the first track on the album gently eases you into their atmosphere, with both players so evenly matched by tones and temperament that your ear does a double take to determine where the guitar ends and the piano begins. This, of course, is the magic of the duet that only occurs when two artists both have the uncanny ability to anticipate each other's thought and respond with seamless reaction.

‘Ahmid-6' is one of the tunes that truly features the duo's ability to dance together. The piano and guitar go romping through the chord progression playfully, while Pat supplies countermelodies and supportive punctuating rhythms underneath Mehldau's jaunty, percolating lines.

‘Summer Day' cools things down a bit, and Metheny picks up his acoustic for the first time on the CD. Metheny has stabbing lines in his solo while Mehldau plays it cool with long, flowing legato lines underneath.

Things start to liven up again when a hustling drum beat is supplied by Jeff Ballard for ‘Ring of Life,' a tune that incorporates a four-chord vamp for solos. Mehldau serves up gorgeous cascading chromatic passages from the right hand, while his left hand simultaneously offers independent ideas. Metheny swoops in with his traditionally warm, yet edgy synth sound, and when he shifts up an octave, Larry Grenadier's thick bass line jabs even harder at Metheny.

‘Legend' is one of Mehldau's tunes in a medium tempo, 3/4 time signature, that finds him in the meaty part of the piano, with dark and dense chords played with deliberation as Metheny explores myriad melodic and harmonic possibilities.

‘Find Me In Your Dreams' serves as the first ballad from Metheny, whose rubato approach creates a wistful, winding melody that is both yearning and tender.

Grenadier and Ballard return for the soulful ‘Say The Brother's Name,' penned by Metheny, which features an efficient, yet tantalizing solo from Mehldau.

‘Bachelor's III,' another strolling dance in 3/4, employs an elegant chord progression with a slight minor-blues tinge that begs for the funky solos that both men gleefully indulge in.

‘Annie's Bittersweet Cake' is full of motion, with an ostinato pattern that modulates on the bridge. The tune has an unrelenting series of chords that offers no challenge to these masters, where most players might falter.

On the closing track, ‘Make Peace,' Mehldau takes his first solo without the support of his left hand, allowing Metheny's arpeggiated acoustic artwork to softly shimmer. Later, the invigorated strumming pattern drives Mehldau's sputtering, percussive patterns to drive the tune forward until it finally finds it resting place where it began—peacefully.

Although it's their first full journey together on wax, these guys are familiar friends, and have admired each other from a short distance for more than a decade now. It was just a matter of time before we were allowed to finally sit in on what occurred as a natural progression in the evolution of jazz— a meeting of the minds by two of the most accomplished artists of our time.

Wayne Goins

Editor's Note: Wayne Goins is the author of Emotional Response to Music Pat Metheny's Secret Story, published by Mellen Press






	Search our site:		Kelly McCarty Trio Common Anomaly Little Apple Records CD0006 *Personnel: Kelly McCarty, 8-String; Brandon Hoffman, sax; Matt Leifer, drums; Brian Patterson, keys (tracks 4 and 8); Cedric Hunt, vocals (track 6)* Tracks: Bing Bung; Equinox; Nardis; Percula; Recordame; We Were Alright; Naima; Sarah Goldfarbe Recorded by Matt “Yellow Dart” Kosinski for Flint Hills Music. Mastered by David Brown for Brown Bear Studio Kelly McCarty plays the 8-String, which seems like a guitar/bass guitar hybrid. It is the instrument that Charlie Hunter has used to produce his unique sound. It can handle bass lines, solo lines, and rhythm guitar-like comping (which in this case, through some handy electronics, often sounds like an electric organ). McCarty's trio is cut from the same mold as the great bar bands of recent times, such as Hunter's trio and Medeski, Martin, and Wood. The rhythms have more in common with rock, funk, hip-hop, and reggae than with mainstream jazz. These rhythms provide the base upon which McCarty and Hoffman take their excursions. The song list is evenly split between originals and familiar jazz compositions. “Bing Bung” would appear to be a nod towards Hunter. Funk with a backbeat switch-off with a jazz 4/4. Saxophonist Hoffman, a Washburn student, reminds of Josh Sclar, the original sax man in the Westport Art Ensemble, or Alex Foster, who played in Jack DeJohnnette's 1970's band: similar lines with a dry tone. “Equinox” is played over a reggae rhythm. You'll enjoy how Leifer aggressively pushes behind Hoffman on his solo. Leifer then solos, intensity staying in place, McCarty riffing behind. All this energy gives the impression of the tune being played faster than it actually is. Somewhere the reggae feels diminished, but McCarty reminds us where we started before the final theme statement. “Nardis” also has some backbeat; the repertoire says “jazz club,” the presentation is more “bar band.” Hoffman continues with another effective solo statement. “Percula” adds pianist Brian Patterson to the mix, giving the band more of a “jazz club” feel. McCarty is freed of his comping responsibilities here, concentrating on the bass part of his duties. Patterson takes a melodic approach to his solo. “Recordame” is rhythmically similar to the Joe Henderson original, but the organ-like comping gives it a much different feel. For one, it beckons Liefer to get stray from the bossa nova behind Hoffman's solo. How Brandon keeps his cool during these fireworks is beyond me. The band supports poetry on “We Were Alright,” a stream of consciousness from Cedric Hunt. “Naima” features a fine bass solo from McCarty. The tension built under Hoffman's solo on “Sarah Goldfarbe,” much from Patterson's keyboard slashes, make this no cure for folks with a hypertension problem. The most searing of the Foster/Abercrombie era DeJohnnette band is a reasonable point of comparison. The McCarty Trio has delivered an interesting premier recording, one that should quench one's thirst for creative improvisation in a modern rhythmic setting. Laura Ellis Here Lies Love King Record Co., Inc. – 2005 Personnel: David Parsley, Tenor Sax, Straight Tenor Sax, Soprano Sax, and Vocals; Laura Ellis, Lead and Background Vocals; John Rodby, Piano and Synthesizer; Mark Stevens, Drums and Percussion; Harvey Newmark, Bass; John Chiodini, Acoustic Guitar; Terry Harrington, Saxophone; Alan Paul, Background Vocals. Tracks: Moonray, I Wanna be Loved, Little Paper Ball, Lonely Woman, Here Lies Love, Exasperada, Tea for Two (Tribute to Anita Day), Let's Live Again, Blue Gardenia, My Shining Hour. Tracks recorded and engineered by Wayne Cook at Wayne Cook Studios in Glendale , CA. Produced: Alan Paul. Arranged and conducted: John Rodby. Here Lies Love is Kansas City native Laura Ellis' debut on King Records. Ellis donates the entire run of this recording to the likes of jazz greats Dinah Washington and Sarah Vaughan, and throws in a tribute to Anita Day along the way. She gives her own unique and sophisticated take on legendary songs such as “Blue Gardenia,” “Moonray,” and “Tea for Two.” Produced by the legendary Alan Paul of Manhattan Transfer, Here Lies Love samples standards such as ballads and even gives a tune or two a touch of Latin flavor, but Ellis remains true to the simple heart of jazz. Raised in Kansas City , Laura Ellis started honing her vocal talents at the early age of ten by singing along with her father's records. Attending Kansas State University , Laura moved onto venues larger than her living room. In Manhattan , Ellis trained in dance and vocal performance and toured the United States singing as a member of the K-State Singers. Following graduation, the Wildcat moved to Los Angeles where she began her professional career as both a singer and as an actress where she made appearances in “Make Me Laugh,” the History Channel's “Route 66,” HBO's “Carnivale,” and appeared in an ad for Avandia with her singing idol, Della Reese. On stage, Ellis performed a one-woman show called “The Vintage Voice,” performed as a member of the all-girl vocal group The Wonderelles, which honored the girl groups of the 1940s, ‘50s and ‘60s. First up is the Artie Shaw great “Moonray.” Ellis' silky voice is a stream of liquid through this wonderful rendition with simple backup instrumentals. Dinah Washington made “I Wanna Be Loved” a classic, never to be outdone by any other artist. Ellis comes close. Her take on “I Wanna Be Loved” is flawless and Washington-esque. It takes a true jazz vocalist to capture the essence of Dinah Washington , and Ellis succeeds at it. The fast pace and staccato tempo of “Little Paper Ball” is a hep tune and brings to mind a late 1950s jazz scene. A little bit of Latin steam from the band and some quick manipulation of the vocals of Ellis should bring a hefty Salud! The ballad “Lonely Woman” has a sadness to it that is captured by Ellis in just a single line and then she continues the trend with the title track “Here Lies Love.” The Portuguese love song “Exasperada” reads like a poem and while Ellis provides the English translation to the lyrics in the liner notes, her heartfelt rendering of this emotional ballad gives the listener enough emotion to translate the song in their own hearts. Following a couple of ballads, Ellis turns right around and gives the listener a vibrant rendition of “Tea For Two.” This tribute to Anita Day proves that Ellis should be a mainstay in jazz circles for years to come and features an amazing mix of Mark Stevens on the drums, Harvey Newmark on the bass, and John Rodby on the piano. “Let's Live Again,” made famous by the George Shearing Quintet, features a great scat session by Ellis who is accompanied by Steven's impressive percussion. Next up is Bob Russell and Lester Lee's “Blue Gardenia,” another Dinah Washington classic from the 1950s, and Ellis once again rivals the master. Rounding out the release is “My Shining Hour,” the Howard Arlen and Johnny Mercer tune from the 1943 Fred Astaire film The Sky's the Limit . This is a most appropriate song to end the CD on. Quick and upbeat featuring every performer from Here Lies Love, this track also tells the listener that Ellis is truly in her shining hour, but she still has more to come. The release of Here Lies Love comes in support of her first Japanese tour with additional tour dates yet to be announced for the United States . Laura's voice is amazing and harkens to mind the classic jazz greats of old. She proves that she can take on numerous jazz styles with ease. Her delivery is superb, capturing the feeling of these songs not just with the words, but with an underlying feeling. Hopefully, Laura Ellis will be a jazz vocalist mainstay. Pick up this CD and you will not be disappointed. —Tristan Smith Jim Self Innerplay Basset Hound Music, 2005 ( www.bassethoundmusic.com ) Featured personnel : Jim Self, tuba and fluba; Gary Foster, reeds and flutes; Pete Christlieb, tenor sax; Dan Higgins, alto sax; total of 45 other musicians over three recording sessions—pianos, guitars, harp, vibes, percussion, basses, drums, and strings. Arranged and conducted by Brad Dechter. Tracks : Speak Like a Child (Herbie Hancock); There Is No Greater Love (Isham Jones); Pensativa (Clare Fischer); I Loves You Porgy/Bess You is My Woman (George Gershwin); Cipriana (Steve Hustetter); That Morning in May (Jim Self); The Underdog Has Risen (Brad Dechter); No More Blues (Antonio Carlos Jobim); Strollin' (Horace Silver); Do You Know What it Means to Miss New Orleans? (Louis Alter). Jim Self plays tuba. And all manner of other lower brass instruments, including his own invention, the fluba (a hybrid tuba/flugelhorn). But who plays tuba/fluba as a melody instrument? These days, it's usually Self, i.e. rare. But it is very well done, especially here. These three recording sessions mix Self's special artistry with the playing of numerous colleagues and friends. Most have been first-chair players on countless film and TV soundtracks. Composers are shown in the play list to indicate the wide range of material included, an ingenious, tasty mix of standards and originals. Duke Ellington, Clare Fischer, and most other eminent American composers, arrangers, and musicians—jazz, pop, and classical—would say that good music is just good music, whether for big or small groups, scored or improvised, or combining arrangements with improvisation. Innerplay underlines this truth. It is charming, edifying, satisfying music in a jazz vein, with warm instrumental colors, comfortable tempos, and fresh voicings—especially because of Self's tuba and fluba artistry plus the highly personal styles of the featured soloists—in different settings or styles on each track. In particular, reedsman/flutist Gary Foster's contributions to these sessions are particularly noteworthy and valuable. Spending a weekend with this CD will smooth you out. It would keep you good company through a long night on the road or in the air. Rare, but well done, indeed. Jerry Hahn Hahn Solo Migration Records 101 Personnel: Jerry Hahn, guitar Tracks: My Funny Valentine; Days of Wine and Roses; Polka Dots and Moon Beams; What a Friend We Have in Jesus; Stella by Starlight; Darn That Dream; My One and Only Love; Angel Eyes; Sophisticated Lady; Prelude to a Kiss; There is No Greater Love; God Bless the Child; As the Deer Jerry Hahn has been a Midwestern guitar legend for years. After making a name in the 1960s with bands led by Gary Burton and John Handy, he was on the faculty of Wichita State University for fifteen years, spent time on the West Coast and Denver, and then settled in Wichita a couple of years ago. There are a handful of solo guitar recordings that go in the classic category. Joe Pass ' Virtuoso series comes immediately to mind. I have often thought of these recordings as perfect music for a weekend morning, when it's quiet in the house, and it is easy to dip in to some intimate sounds. Add Hahn Solo to that short list of weekend morning recordings. Hahn has selected a group of familiar ballads plus a hymn for this recital. “My Funny Valentine” starts as a true ballad, then evolves into an easy swing. Hahn has the ability to multitask, simultaneously comping and supplying bass lines, or comping behind a solo line, or having a walking bass line with the melody line. It often sounds like multiple instruments, but we all know it's not. “Days of Wine and Roses” shows Jerry's strong swing feel; you'll feel the rhythm just as sure as if Blakey was sitting back there somewhere. “Polka Dots and Moonbeams” has the most beautiful chords to ever be heard at a country dance (in a garden). “Darn That Dream” has more of the “two guitar” feel; hear that second voice, the midrange, early in the second solo chorus? “My One and Only Love” stays at the ballad tempo; the tune has a bridge that seems dramatic to me, and maybe it's Hahn that just made me realize it. “Stella by Starlight” shows his ability to create melody. And listen to his horn section-like riffs punctuating the out chorus. Hahn is never out of control in his playing. Oh, there are some lightening-fast runs in his “Sophisticated Lady” solo and an ascending line with some bluesy chord exclamation marks that might cause you to spill some coffee in the first solo chorus in “Darn That Dream,” but he's never at those torrid Pass-like tempos when Joe would seem to be hanging off a ledge. Hahn's playing is all about the pretty chords, the right counterpoint, and swing. Hahn's guitar, by the way, is a 1951 Gibson L-4 arch-top, a picture of which adorns the cover. This guitar was a gift from Bill Frisell, after they had worked together on a Ginger Baker recording. It's a thing of beauty to the eye, and Jerry Hahn makes it a beauty to the ear as well. The only question is whether this recording is for Saturday morning, Sunday morning, or both. This CD is available from Hahn's Web site, www.jerryhahn.com . Roger Atkinson Pat Metheny and Brad Mehldau Metheny/Mehldau Nonesuch Records Personnel: Pat Metheny, guitar; Brad Mehldau, piano; Larry Grenadier, bass (tracks 4 and 7); Jeff Ballard, drums (tracks 4 and 7) Tracks: Listed below, in order Recorded in December, 2006, Right Track Recording, New York City It's always satisfying to know that Pat Metheny never fails to find artists who are on his artistic level, in spite of the fact that this list seems to grow shorter ever year—he just keeps getting better, and one wonders if he'll run out of new people to play with at some point. On Metheny/Mehldau , the simple yet elegant two-toned cover art, along with the obviously understated title, gives some insight as to what's in store for us here—no frills, just straight talk from two artists who have nothing left to prove beyond their own sense of adventure. ‘Unrequited,' the first track on the album gently eases you into their atmosphere, with both players so evenly matched by tones and temperament that your ear does a double take to determine where the guitar ends and the piano begins. This, of course, is the magic of the duet that only occurs when two artists both have the uncanny ability to anticipate each other's thought and respond with seamless reaction. ‘Ahmid-6' is one of the tunes that truly features the duo's ability to dance together. The piano and guitar go romping through the chord progression playfully, while Pat supplies countermelodies and supportive punctuating rhythms underneath Mehldau's jaunty, percolating lines. ‘Summer Day' cools things down a bit, and Metheny picks up his acoustic for the first time on the CD. Metheny has stabbing lines in his solo while Mehldau plays it cool with long, flowing legato lines underneath. Things start to liven up again when a hustling drum beat is supplied by Jeff Ballard for ‘Ring of Life,' a tune that incorporates a four-chord vamp for solos. Mehldau serves up gorgeous cascading chromatic passages from the right hand, while his left hand simultaneously offers independent ideas. Metheny swoops in with his traditionally warm, yet edgy synth sound, and when he shifts up an octave, Larry Grenadier's thick bass line jabs even harder at Metheny. ‘Legend' is one of Mehldau's tunes in a medium tempo, 3/4 time signature, that finds him in the meaty part of the piano, with dark and dense chords played with deliberation as Metheny explores myriad melodic and harmonic possibilities. ‘Find Me In Your Dreams' serves as the first ballad from Metheny, whose rubato approach creates a wistful, winding melody that is both yearning and tender. Grenadier and Ballard return for the soulful ‘Say The Brother's Name,' penned by Metheny, which features an efficient, yet tantalizing solo from Mehldau. ‘Bachelor's III,' another strolling dance in 3/4, employs an elegant chord progression with a slight minor-blues tinge that begs for the funky solos that both men gleefully indulge in. ‘Annie's Bittersweet Cake' is full of motion, with an ostinato pattern that modulates on the bridge. The tune has an unrelenting series of chords that offers no challenge to these masters, where most players might falter. On the closing track, ‘Make Peace,' Mehldau takes his first solo without the support of his left hand, allowing Metheny's arpeggiated acoustic artwork to softly shimmer. Later, the invigorated strumming pattern drives Mehldau's sputtering, percussive patterns to drive the tune forward until it finally finds it resting place where it began—peacefully. Although it's their first full journey together on wax, these guys are familiar friends, and have admired each other from a short distance for more than a decade now. It was just a matter of time before we were allowed to finally sit in on what occurred as a natural progression in the evolution of jazz— a meeting of the minds by two of the most accomplished artists of our time. Wayne Goins Editor's Note: Wayne Goins is the author of Emotional Response to Music Pat Metheny's Secret Story, published by Mellen Press RETURN TO OCTOBER/NOVEMBER 2006 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2006. All rights reserved.