JAM:June/July 2007 Issue: For the Record

Allen Beeson

First Time Out
Personnel: Allen Beeson, trumpet and flugelhorn; Tim Aubuchon, Tenor Saxophone; Kevin Hennessey, bass; Ken Kehner, piano; Tony Lotven, flute; Todd Strait, drums.

Tracks: Oop Scop a Dop; Triste; Rubies for Jane; Confirmation; And Wally Said; Zachary's Dream; Voyage; The Masquerade is Over; Alone; You Stepped Out of a Dream; ‘Bye Bear; Lisa's Kitchen.

Produced by Allen Beeson; recorded and engineered by Pete Szkolka; mixed by Kevin Hennessey, Pete Szkolka, and Allen Beeson; mastered by Bob Katz.

Beeson and his crew have created a very clean, highly swinging album here, one in which more than half of the tunes are Beeson's original compositions. Often when listening to a compilation album, in which jazz standards are placed alongside new compositions, the new work pales in comparison, or seems out of place.

This is simply not the case with Beeson's finely crafted compositions. For instance, his “Rubies for Jane,” an original ballad that includes a double-time section, seems an appropriate segue into Parker's “Confirmation,” which is followed by Beeson's swinging composition “And Wally Said,” a fine complement to Parker's era—and its continuing influence on our own. Both Beeson's tune and Parker's capture that speedy bop feel.

However, Beeson and his crew never seem rushed by the rapidly moving changes, something emphasized by a strong, driving rhythm section, including Todd Strait 's ever eloquent, precise, polyrhythmic placement. Listening to Strait's subtle, quiet, snare drum placement and crash cymbal taps is like listening to a master typist moving at top speed.

There is an endless flow of intricacies beneath a ceaseless stream of motion.

Beeson's gifted, pure tone and talent for tasteful phrasing is showcased throughout this entire album, and can be sampled on the ballad “Zachary's Dream,” which reminded this listener a little in style and feel of the second track of Weather Report's Heavy Weather album, “A Remark You Made,” capturing that ‘70s smooth, electric feel. Ken Kehner is also featured on this tune, providing a brief, soulful keyboard solo, in addition to painting an impressive display of background color and ambiance throughout the tune.

On “You Stepped Out of a Dream,” Tim Aubuchon's ability to harmonize is showcased, when Beeson and Aubuchon begin the tune with a call-and-response duet. Beeson is up front; however, he allows Aubuchon sufficient space to interject, revealing his generosity and his ear for sound interplay. Aubuchon also takes a notable solo on this tune, one that sounds much like a compelling monologue, interspersed with phrases that sound like Aubuchon is asking something of his listener—a compelling quality.

Overall, this album is clean, tight, and energizing. Beeson's original tunes stand well in the company of the standards—and perhaps these tunes are on their way to m akin g places for themselves right along the songs of our predecessors. As Pete Christlieb says in the liner notes for this album, in regard to Ken Kehner's arrangement of the Nacio Herb Brown tune “You Stepped Out of a Dream,” “I'm going to steal this one.” High praise, and a look at the business of jazz: how we borrow and how we go on. Buy this album, and you will be pleased.

In addition to your requesting this album at your local music store, this CD can be obtained from Chase Music Group, PO Box 11178 , Glendale , CA 91226 .

— Kevin Rabas

Jason Steele Ensemble

Some Wonderful Moment
Eyes & Ears Records ee:07-001

Personnel: Jason Steele, guitar; Ron Miles, cornet; Thad Franklin, flugelhorn, trumpet; Josh Sclar, tenor sax; Tim Sullivan, tenor sax, bass clarinet; Keith Johnson, Fender Rhodes; Matt Ulery, bass; Charles Rumback, drums.

Tracks: “i” (solo version I); Unexpected You; No Words; “i”; Proceed to Numb; Horn Interlude; Since Forever; Alphabet Town; ‘I” (solo version II).

Recorded and mixed at Engine Recording Studios, Chicago , Illinois , April 21-23, 2005 , by Matthew Gagnon; mastered at Kingsize Sound Labs by Mike Hagler; produced by Jason Steele and Charles Rumback.

Formed in September of 2004, The Jason Steele Ensemble showcases Jason Steele's original compositions and highlights the talents of other Chicago area jazz musicians. Some Wonderful Moment, the ensemble's debut release, was recorded shortly after their inception and its influences range from Miles Davis to Elliot Smith.

Now, you may not catch Jason Steele around Kansas City any time real soon. The Jason Steele Ensemble, a jazz, indie rock, and improvisation-influenced group, is based out of Chicago . Steele also has a side project there called Remington 2+2: a free improv quartet with fellow guitarist Bill McKay and two mystery guests at each show. Originally from Colorado Springs , Steele attended Hutchison Community College in Hutchinson , Kansas , where he was under the tutelage of trumpeter/educator Bryce Luty and drummer Eugene “Bones” Hutchinson.

Steele then received his B.M. in Jazz Composition from the Chicago College of Performing Arts at Roosevelt University . During this time, Steele performed at the Montreux Jazz Festival, as well as festivals in New Orleans , Reno , and Wichita . He also began composing for large and small ensembles, culminating his studies with an arrangement of “Unexpected You”, an original work that you will find on this release. His bandmates all have impressive resumes with contacts such as Bill Frisell, the Duke Ellington Orchestra, Wynton Marsalis, and Clark Terry. Also, a few of the bandmates have strong ties to the Kansas City area with Keith Johnson, Charles Rumback, and Joshua Sclar hailing from the region.

Serving as bookends for Some Wonderful Moment is “i”, both solo endeavors featuring keyboardist Keith Johnson's solo electric piano. Each takes the listener into a unique musical cacophony. The opening track, “Unexpected You”, is the first full-length track. The quiet lines here are haunting, with Steele—as he does on most of the tracks—sitting out while his bandmates are given the opportunity to stretch their instruments for a moment. With “No Words” you get a touch of a late 1960s Miles Davis fusion composition with some progressive rock seeping in. The result is very entertaining.

“Proceed to Numb” begins with a droning and somber trumpet solo by Thad Franklin, but transforms, in the middle section of the twelve-minute tune, into a free-form free-for-all before regaining its composure at the end. The beat near the end, especially the underlying drums, is very reminiscent of Abbey Road -era Beatles. “Since Forever” has some clear 1960s pop flavor to it and, as indicated by the cover of the late Elliot Smith's “ Alphabet Town ”, Jason Steele brings his heavy indie rock and folk influences to the forefront.

The Jason Steele Ensemble has a very unique approach to their art. Their work is both morose and moving at the same time. They are easily able to float from pop and indie rock influences straight into avant-garde and fusion jazz without skipping a beat. While the compositions are guitar-driven, there are seven other bandmates who are allowed to take a front seat in each. Every one of them combines to create almost an orchestral spirit rather than an octet. The sounds piped out of your speakers are alive and have meaning. If you get the chance to grab Some Wonderful Moment, do so.

— Tristan Smith

The Boulevard Big Band
The Boulevard Big Band “Live”at HARLINGS UPSTAIRS

Personnel: Michael McGraw Trumpet and leader ( tracks 1-9). Trumpets: Danny O'Brien 1,2,4,7,8 and 9( lead trumpet); Jay Sollenberger 2,3,4,6,7 and 9 (lead on 3); Dave Aaberg 2,3,6,7 and 9(lead on 6); Fred Mulholland 1,3,4,7,8; Steve Malloy 1,3,5,6, 8 and 9; Al Pearson 3,5,6,7 and 9. Trombones: Steve Dekker (lead), Paul McKee, Greg Finch, Matt Kern (bass), Paul Roberts 3 and 8 (replaces Kern on 8). Woodwinds: Hal Melia (lead), Phil Brenner, Pete Christlieb, Aaron Simcox, James Isaac. Rhythm: Roger Wilder – piano, Rob W hitsitt –guitar, Tim Brewer – bass, Todd Strait- drums.

Tracks: Peeve , Cheek to Cheek , My One and Only Love , Black Nile , The Meaning of the Blues , If I Only Had a Brain , Alone , The Search for Peace , It's Not About You

The Boulevard Big band has done it again…what a great live performance featuring the multi talented Pete Christlieb. Christlieb has long been a favorite of mine since I heard him together with Warne Marsh on the Donald Fagen produced album, Apogee. There is definitely a lot of good energy on this live recording done at Harlings Upstairs last February. Such a well rounded variety of standard Big Band charts. If you are familiar with the fine work of the Boulevard Big Band I am sure you will enjoy the entire album. In my humble opinion, there are a few must listen tracks; such as Paul McKee's arrangement of the Wayne Shorter classic, “Black Nile”. Todd Strait does a wonderful job throughout the CD, but on this chart in particular, he really drives the momentum of the ensemble. Paul McKee and Pete Christlieb both offer some tremendously tasty solos on this rendition. Dave Aaberg's arrangement of Yip Harburg's and Harold Arlen's “If I Only Had a Brain” is a fresh new setting in three with several cryptic quotes from other Wizard of Oz gems. See if you can name them all. Paul Roberts' provides a nice arrangement of McCoy Tyner's composition “Search for Peace”. This performance was an especially poignant addition to the evening's performance. The entire CD is a real treat. The Boulevard Big Band is definitely a Kansas City treasure. I was at the Los Angeles Jazz Institute recently and ran into a DJ from a Minneapolis radio station who mentioned the Boulevard Big Band among his favorite ensembles from Kansas City . Apparently the word is out.

— John Blair

Donna Tucker
Right As The Rain

Personnel: Leslie Maclean (piano); Bob Bowman (bass); Craig Akin (bass track 9); Jerry Pollock (drums/percussion)

Special Guest Artists: Kim Park (flute, alto, tenor saxophones); Bill Harshbarger (clarinet); Danny Embrey (guitar)

Tight charts, tasty selections, and the laid back, self-assured lower register of Donna Tucker introduces this new (to me) jazz singer via “Donna Tucker – Right as the Rain,” her latest CD. Apparently Texas-rooted, she's performed with the enviable North Texas State One O'clock Band as well as the Dallas Jazz Orchestra. Interestingly, her dues-paying didn't end at the border: she's traveled the globe, having headlined for several years and broken the record for appearances at the Westin Tokyo.

One of the first things I noticed was her generosity in giving away space to the side. And an incredibly gifted supporting team was on hand to accept it – Bob Bowman and Craig Akin sharing low harmony; the incomparable Kim Park playing flute/alto/tenor; Bill Harshbarger on clarinet; Danny Embrey on guitar; and rounding out the tight rhythm section, CD producer/arranger/composer Leslie Maclean playing piano with Jerry Pollock on drums/percussion. When you have that many elephants in the room (I say that with worshipful admiration) they must be acknowledged! And they were...most tastefully, as you'll hear.

Note: Re: Maclean's charts – they reminded me somewhat of that Gershwin collection by Dave Grusin. Tight, stylistically valid, fun to hear.

Donna opens with a smooth “Sugar,” shying from score, bending the attacks, voweling the “r's” (‘he's su-gah to me'). A straight ahead solo by Kim Park (worth the price) on the TENOR (worth double the price) makes this a perfect kickoff. “So Many Stars” shine nicely through Tucker's husky mid-range, her backphrasing and discriminating vibrato an ideal liftoff for Embrey's gorgeous guitar.

A Betty Boopish (don't get me wrong; I LOVED Betty!!) feel characterizes the stop-time uppish “Somebody Loves Me,” which features Bowman's unmistakable genius – both in solo and trades. “What Do I Remember?,” a REALLY nice original written by the aforementioned Leslie Maclean, is sung most convincingly by an emotional, lyrical, attrahent Tucker. This Sondheim-like soliloquy to lost love might well be my favorite. (Send a copy to Diana Kral.)

Bowman's bass with vocal ushers in “Don't Go to Strangers.” Add Park's smoky sax and a most appealing little ditty unfolds, one that doesn't need any hyper-drama, one that grabs you right there, uh huh, right there – once again m akin g the case for bare bones versus layered schlock.

The intro to “Hello Young Lovers” reminded me somewhat of the intro to the old “Gravy Waltz” (I'm dating myself again. Sigh.) McLean delivers a nice piano solo here, followed by another original – an enigmatic “Won't Know ‘Till I Get There,” this time sung by its composer, Donna Tucker, with the confidence of someone who's paid her dues and anticipates her just rewards. Kim Park's rhapsodic flute introduces and solos throughout, as only he can. A whimsical, coquettish, bouncy “Something Wonderful” (from “The King and I”) complete with romping clarinet (Bill Harshbarger) and drums ( Jerry Pollock ) is succeeded by change-of-pace “Misty”, Craig Akin backing and soloing nicely on the bass. The old chestnut survives yet another incarnation with textbook tempo, takes, and twists. I reckon' that's why they call ‘em Standards.

Pollock's drums introduce Tucker's “Summertime,” framed in a quasi-jazz rock rhythm with great clarinet licks surrounding the head, then Embrey's string syncope takes a turn, and everyone seems to enjoy the ensuing romp, as did I.

A music-box lullaby feel underlays the first phrases of Bill Evans' “Waltz for Debby.” Tucker has an enviable dead tone which was most effective (and sparingly) used in conveying the sad/sweet story. Tucker & Company blossom forth through the final 32, curling back to a rit. ending atop the music box. A nice touch.

Hand snaps, tight vocal harmony, and a cute original (Tucker), “I Like it Like That,” with Embry comping and soloing, will give you the grins.

The CD closes ambitiously with title song, “Right as the Rain.” I hope I'll have the opportunity to hear Donna & Company in person sometime soon. She phrases really well, has a good sense of how to play with the rhythm(s), and emerges with her own style and sound. It's always a good sign when someone asks you, “Who does she remind you of?” and you can't think of an answer. A very good sign.

—Carol Comer

Andrea Pharr
Don't Explain

Personnel: Andrea Pharr, piano.

Tracks: My Funny Valentine; Here's That Rainy Day; Ashokan Farewell/Try to Remember; Alfie; Don't Explain; Pancho and Lefty; American Tune/Still Crazy After All These Years; Shalom Aleichem Medley; Spring Can Really Hang You Up The Most/You Must Believe in Spring; The Nearness of You; Time Passes Slowly/Pleasures of the Harbor; But Beautiful/You Are Too Beautiful; The Fool on the Hill; Bewitched; A Time for Love; ‘Round Midnight.

Sound Trek Studios, Kansas City , 2006 .Recorded by Ron Ubel. Edited and mastered by Jeff Schiller. Engineered by Grant Schainost.

This elegantly crafted collection provides a memory-provoking hour of tunes that are special not just for those of us, as the French say, “of a certain age,” but also younger, and older. Andrea's musical sensibilities and approach give distinctive coloring to some of my, and probably your, favorite evergreens, ranging from the Billy Holiday title track to Rodgers and Hart, Burke/Van Heusen, Johnny Mandel, Bob Dylan, Paul Simon, and Lennon/McCartney. For a quiet afternoon or evening at home, this is “But Beautiful.” It helps you “Try to Remember,” or reminds you of the time when you used to wonder “What's It's All About, Alfie?” and make you agree again that “Spring Can Really Hang You Up the Most.” “Hush now, don't explain.” Just listen, and let it play again.

Charles Gatschet

Step Lightly
Barnstorm Productions, LLC – 2007

Personnel: Charles Gatschet, guitar; Ali Ryerson, flute; Greg Gisbert, trumpet and flugelhorn; Eric Gunnison, piano; Ken Walker, acoustic bass; Mark Simon, electric bass (Track 2) and acoustic bass (Track 7); Paul Romaine, drums.

Tracks: Step Lightly; Fly Boy; Caracas; Segment; Azalea; Habanero; Delilah; The Chief; Sienna; Born to be Blue.

Recorded: Mile High Music, Denver, CO.

Kansas City guitarist Charles Gatschet (pronounced Gat-Chet) has worked with and learned from some of the greatest jazz originals like Buddy Anderson, a trumpeter and pianist with the Jay McShann Orchestra, and Claude “Fiddler” Williams, the original guitarist for the Count Basie Orchestra. Stylistically, Gatschet leans towards bebop and Kansas City swing. He is a lifelong and dedicated musician with his studies in the art of music beginning with violin lessons at the age of nine. Two years later he picked up the guitar and hasn't looked back since.

By Gatschet's late teens, he already had a firm foothold among veteran jazz musicians in Kansas City and has cultivated relationships that have helped him further his style. Over the years, Charles has studied theory, arranging, composition, and improvisation, as well as classical guitar with renowned artists. Both his instrumental and compositional talent proved excellent in his past CD, Reflections. In his newest release, Step Lively, Gatschet takes his talent, complemented with that of some extremely gifted performers, and both honors those musicians whose performances built the foundation of jazz and gives us a glimpse into its future.

Half of the tracks on Step Lively are Gatschet originals: “Fly Boy”, “ Caracas ”, “Habanero”, “The Chief”, and “Sienna”. The others have their roots in some early jazz, a few of those in Kansas City . The title track, “Step Lively”, comes from Joe Henderson's great soulful blues tune. “Segment” is the Charlie Parker tune that was recently introduced to a whole new audience, having been featured in the 2006 hit movie Talladega Nights: The Ballad of Ricky Bobby. Gatschet and company also cover Duke Ellington's exotic “Azalea”, Victor Young's “Delilah”, and the Mel Tormè and Robert Wells composition “Born to be Blue”. “Habanero” even brings to mind Dizzy Gillespie's compositions during the 1940s movement of Afro-Cuban music, such as “ Manteca ” and “Carnival”.

Each track clearly has its foundations in some old-style early jazz. You can definitely hear the Kansas City swing and bebop influences coming out, especially in the Gatschet originals. In these originals you'll also find some other influences such as soul, funk, classical, and Latin jazz. Despite the greatness all of the original compositions, the true expertise of this group shines through on both “Habenero” and “The Chief”, as well as the covers of “Step Lively” and “Segment”.

In an interview a while back, Gatschet said, “Ultimately, my goal is to make music that is enjoyable for both the listener and the musician.” While I cannot speak for anyone on the musician's side of the coin, we back here on the flip side of the coin can find something extremely enjoyable. It isn't just the artistry of Gatschet's seductive guitar; it's the way he has selected the classics and arranged them to fall into place with his original compositions. Listen to Step Lively and you'll find a release that can be listened to tune-by-tune or straight through as Gatschet has taken his keen focus and wrapped up the package with the whole sound in mind. Fast or slow, new or classic—there is a sound for everyone on Step Lively.

Recently, Gatschet has formed a trio and continues to entertain Kansas City jazz fans at local venues like the Blue Room, Jardines, and the Drum Room. In fact, if you've got a few spare hours and want to catch this rising star live, then your chance is coming up. Head over to the Blue Room on July 14th for the Step Lively release party. Gatschet will be joined by Ken Walker on bass, Eric Gunnison on piano, and Paul Romaine on drums. While you're there, pick up their newest release and you will not be disappointed.

—Tristan Smith

The James Ward Band – (The JWB)

In Perspective

2007 Groovward Publishing

Personnel: Angela Ward, keyboards; James Ward, bass; Andrew Ward, drums; Markel Clayton, percussion and

effects; Ray Stewart, percussion; Rob Bowen, drums; Kevin Johnson, drum programming; Jonathan DuBose, guitar; Dejuan Williams, guitar; Jake Long, guitar; Travis Johnson, guitar; featuring Gerald Dunn , soprano and tenor saxophones; John Cushon, drums.

Tracks: Midday ; Bet That Up; Contemplation; Joyful Noise; Satisfied; Muted Voice; Muted Voice Reprise;

Think to This; Why Ask Why; Latin Ending

Recordings: Contemplation (April 2005), Asaph Ward's Studio; Satisfied (October 2005) and Muted Voice (October

2006), John Cushon's Studio; Joyful Noise, Midday , and Bet That Up (2006), Chapman's Recording Studio.

Acceptance and Hope

All others recorded at the Ward home studio (2007). Mixed by James and Angela Ward; mastered by Neil Simpson.

Produced by James & Angela Ward; Groovward, BMI - Publishers

T he James Ward Band was born at the Blue Room in Kansas City 's historic 18th & Vine—to fill a sudden vacancy. At the heart of the JWB is a mild-mannered mega-team: husband and wife, parents of small boys, classically trained musicians, James and Angela Ward. Nine years later, the JWB has honed and finessed their sound into the kind

of hard-driving, head-bobbing, straight-up, old school, funk-infused jam that draws surges of excitement and cheers.

Beyond bumble gum, the James Ward Band is intelligent jazz fusion. In Perspective features all original music written by James Ward, Angela Ward, and Markel Clayton. The opening salvo, “ Midday ,” is fresh and uplifting, moving on smart chord progressions and thoughtful transitions. “Bet That Up” is buoyed along by Dunn's surprising riffs on tenor sax. “Contemplation,” with its Zen overtones and special percussive effects, also takes some delightful unexpected turns, flanked by Dunn's soprano sax and DuBose galloping guitar. Angela Ward's command of the synthesizer and roots in gospel stand out in “Joyful Noise,” as her keyboard trades playful riffs with Clayton's cavalcade of percussion.“Satisfied” features bassist and trumpeter James Ward, exhibiting, artistry on both canvases. Angela sweetens the satisfaction with an interlude picked up by Johnson on guitar.

James Ward told the story behind “Muted Voice” at the CD release, sharing his decision to follow his dreams of being a photographer and musician in the midst of the noise that questioned his choices. This fitting anthem inspires the listener to rise to his level of courage. “Think to This” is smooth and soulful, orchestral and expertly mixed. “Why Ask Why” is a Ward on Ward interlude—an intimate relationship between keys and bass, with interesting percussive notes thrown in for spice. “Latin Ending” doesn't disappoint—unless you consider that it's good enough to be twice as long.

The CD cover carries this quote: “When one enjoys creating something, it is sometimes important to keep things in perspective so that many others will also be able to enjoy it. That's art.” James Ward. The JWB first CD of original music is a smart, sassy creation of art in perfect perspective.

—Sharon Valleau