For the Record

John Stein
Green Street
Whaling City Sound

Personnel: John Stein, guitar, David Newman, alto and tenor sax, Ken Clark, organ, Dave Hurst, drums.

Green Street is an homage to—who else?—the great Grant Green. The CD starts with a classic 60's groove, “Booga Lou”, which, as you may have already guessed, is a delightful nod to Lou Donaldson, one of the prime architects of the groove that dominated the nightclubs back in the day.

“Hotcakes” opens up with a tasty drum riff, and glides easily into the flute/guitar melody set in a minor mode, a perfect vehicle to blow over, with Fathead quoting “Eleanor Ribgy” in the second chorus of his solo—it lays so perfectly, you know it was just too irresistible to Newman at the time. Ken Clark's highly rhythmic and percussive attack conjures up the McGriff more than the Smith, which is refreshing because the latter would be most organists' obvious first temptation toward imitation. Meanwhile, KC native (and current faculty member at Berklee in Boston) Stein's lines don't bother trying to duplicate Grant's stand, he does himself justice by being himself. For that alone, he earned some serious cool points from me.

“Jack's Back” is a tasty medium-up blues, which, not coincidentally, might fit quite comfortably in Captain McDuff's wheelhouse. This is the tune to pick when you want to sit back, close your eyes, and get lost in the burning, back-and-forth swirl of the Leslie as Ken Clark blisters one right down the middle. As for John Stein's performance, he has the smarts to know when to speed and when to cruise, and he chooses to play it here the way Kenny Burrell would have—deep in the groove, swinging lines, and no wasted notes.

The lustrous ballad, “Our Love Will See Us Through”, co-written by Stein , presents silky textures of Stein's orchestral sounds found in his chord melodies, followed by elegant single-note phrasing over the double-time section. Meanwhile, Fathead takes his sweet time and offers a tenor lecture on what love is. “Sultry” is a Stein original that best represents the high level of artistic achievement Stein has maintained over the years, as he wisely channels Wes' sensibilities while simultaneously asserting his own personality to carve out his best solo on the CD. This, of course, fuels Ken Clark to summon his best organ solo in return, making this tune my favorite of lot—not an easy task since there's so much to like on this disc.

Next up is “Green Street”, the title track that takes ‘ya back—to every dark little dive you ever ducked in past nine, after peeping through the grease-stained window to get a peek at the organ trio swinging like mad in the far corner of the bar. Stein enters slowly, pacing himself like a skillful boxer—first jabbing, then floating like a butterfly through the blues shuffle that's his to carry for as many rounds as he pleases. Newman and Hurst don't disappoint on this one, either, conjuring up the spirits of Turrentine and Tate, and Ken Clark is simply smoking. “Greyhound” is the up-tempo minor-key cooker that races along in a major way, the chord progression not your average twelve-bar roadmap. After Stein and Clark lay down the law, drummer Dave Hurst gets to establish some ground rules of his own, with a percolating solo that is aggressive, yet not overbearing. “Do Nothing Till You Hear From Me” features Fathead Newman on alto, which is a wonderful treat since we're so accustomed to his tenor prowess. Stein follows Fathead with a short but sumptuous solo that perfectly captures the easy, laid-back ambience the tune was meant for.

“Culebra” is a Latin-flavored, slow-simmering shimmy that makes me want so badly to retract my previous statement about ‘Sultry' being my favorite. One listen and you'll know exactly what I mean: The thoughtfulness of Stein's phrasing reminds me, oddly enough, of how carefully and considerately Carlos Santana delivers his lines when he preaches his sermons on guitar—tell me if you, too, can't hear that on this one. “Digits”, which features a breathtaking solo by Ken Clark, has a melody unlike anything else on the album. This tune that gives Stein a chance to flaunt his flawless linear approach that always makes you want to hear at least one more chorus—a great sensation for the listener to experience. “Be Oo Ba” and “ You Stepped Out of A Dream ”. the final two pieces, were added as bonus tracks to this excellent collection that was originally released ten years prior to this well-done reissue.

A decade earlier, I never knew what I was missing, but I sure am glad I caught John Stein the second time around—what a gift this man has. He's in an elite class: A mere handful of jazz guitarists who consistently put taste above chops and flash. John Stein has the ability to say so much more with less effort than most of his contemporaries can muster. It is, to say the least, refreshing.

—Wayne Everett Goins

Ben Allison

Little Things Run the World

Personnel: Ben Allison: Bass, Acoustic Guitar; Ron Horton: Trumpet, Flugelhorn; Steve Cardenas: Electric Guitar; Michael Sarin: Drums; Michael Blake: Tenor, Soprano Saxophone

Tracks: Respiration; Little Things Run the World; Four Folk Songs; Language of Love; Roll Credits; Blowback; Jealous Guy; Man Size Safe

Produced and Mixed by Ben Allison & Matt Balitsaris

Recorded at Maggie's Farm, PA on August 17-18, 2007

Mastered by A.T. Michael MacDonald at AlgoRhythms, NYC

Palmetto Records PM 2131

This is bassist Ben Allison's seventh album on Palmetto, but the first for me. It was former Kansas Citian Steve Cardenas that got me, which is the same way my CD library accumulated fantastic albums by Alexis Cuadrado, Brandon Fields, Kate McGarry, Rebecca Martin, etc. I don't know if I'm a Cardenas completist, but I do know I want to check out these other six Ben Allison records.

I've struggled to put words to what sets this album apart, but ‘heavy rotation' is an understatement: my CD player has seen little other action the past week or two. It's addictive, I swear. Ought to have a Surgeon General's warning or something.

Starting off with ‘Respiration,' a hypnotic, escalating rant that reminds me both of Wes Montgomery's ‘Four on Six' and Terumasa Hino's ‘May Dance' album (for wildly different reasons, and I'd readily admit I might be the only person to make that connection). And the latter would make me think it's the Scofield influence on Cardenas, but really, Cardenas doesn't sound any more a disciple of Sco than, say, Pat Metheny sounds like Wes Montgomery. If you want to hear it, there's musical DNA there, but that's all.

In fact, throughout the album, as I tried, for the sake of descriptors, to liken it to other albums, I came up short again and again. It's remarkably original material, and if the title track reminds me of early Wayne Shorter compositions, it's certainly not to say its in any way derivative, and again, I might be alone in that notion.

The title track brings along Michael Blake on saxophone on a composition with a heartbeat pulse and a long form, followed by the mostly uptempo ‘Four Folk Songs.' The tune carries momentum and intensity beyond it's pace.

Language of Love, a Cardenas composition, is a ballad with a standout bass solo by Allison. For an album with a bassist as band leader, there's not nearly the quantity of bass solos you might expect, but what's there is gorgeous. Allison strikes a nice balance between a bassist like Larry Grenadier, who is sometimes so restrained it's frustrating, and what the Larry Grenadiers of the world are rebelling against: flashy players who confuse dexterity with musicality.

Man Size Safe plots as meticulously as a paranoid vice president hiding documents so secret even he can't know what's in them. After reading Ben's liner notes (where it's explained that the tune is part of his ongoing ‘Dick Cheney Suite' and read, in part, “He must believe his own psychosis. Sneering secrets create empires.”)

In any case, I trust Ben Allison has better sense than to go hunting with the Vice President.

Contrasting textures and flavors, great chemistry and interplay, ‘Little Things Run the World' listens like a gourmet meal.

—Rod McBride

KARRIN ALLYSON

IMAGINA: Songs of Brasil

Concord Jazz

Personnel: Karrin Allyson (vocals, piano); Gil Goldstein (piano, accordion); Rod Fleeman

(acoustic guitar); David Finck (acoustic bass); Steve Nelson (vibraphone, marimba);

Todd Strait (drums); Michael Spiro (percussion)

Welcome to 58-plus minutes of pure pleasure. Early on, Allyson committed to recording several lesser-known Antonio Carlos Jobim and Vinicius de Moraes compositions; with encouragement and guidance from her friend, mentor, and Portuguese coach, Lucia Guimaraes, the project took form. Other brilliant composers are included and, as Karrin had hoped, the collection is so exquisitely arranged and delivered as to be experienced/understood sans translations, ‘though they are provided by several lyricists, including the prosaic Chris Caswell (see “Footprints”).

DO NOT FAIL to read ALL of the liner notes – especially Karrin's and those of the aforementioned Guimaraes – as well as the crib notes beneath each listing. The music is avuncular, passionate, pensive, reflective, intense, insane – but never less than perfect.

Smooth and effortless, the recognizable “A FELICIDADE” (HAPPINESS) opens, followed by “CORRENTEZA,” a beautiful bossa nova alternating rubato verse to pulsating chorus. Ever-so-gentle...sensual...with soft percussion accents, “SO TINHA DE SER COM VOCE” expresses a deep and endless love for “...you who are made in blue (not sad blue but azure blue). Please let me live in this blue.”

Allyson's superlative talent notwithstanding, to negotiate these complex intervals...

rhythms...requires a technical facility many would find difficult if not impossible. Her articulate and flawless libretto clearly communicates the message, translation unnecessary.

In this, their 3rd collaboration, Gil Goldstein's plaintive accordion introduces the Dorian, dream-like “MEDO DE AMAR” (SURRENDER THE SOUL). Allyson's occasional huskiness is both effective and compelling. Familiar (and infectious) “O MORRO NAO TEM VEZ” (FAVELA) follows, a fabulous marimba solo (Steve

Nelson) therein, this masterpiece framed in an ideal tempo.

“ESTRADA BRANCA” (THIS HAPPY MADNESS) houses a beautiful bass solo (David Finck) and a lilting cycle of a melody; you'll be surprised to learn it's message. Rod Fleeman's gentle strumming introduces “OUTONO” (STAY). The presence – soul-stirring; contrasting the Portuguese lyrics with Paul Williams' ascription – fascinating.

Allyson accompanies herself on several selections – this, “DOUBLE RAINBOW” – she also arranged. There's a tasty contrapuntal interlude plus some nifty trades between her piano and Fleeman's guitar, to say nothing of the captivating vocal.

A twenty-year-old Jobim penned the title song, “IMAGINA,” in 1947. The French (Ravel) influence is obvious and immediate. We're treated to Goldstein's sentient accordion and Allyson's wistful, reflective conceptualization.

This is NOT your father's “DESAFINADO” (SLIGHTLY OUT OF TUNE). The Allyson/McLaughlin chart – check out the time signature(s) – is a delightful departure. There are judicious fills smoothly linking the phrases and David Finck's bass provides a perfect percussive back-cent. “PRA DIZER ADEUS” (TIME TO SAY GOODBYE) is reframed here with Chris Caswell's bittersweet lyric; you'll hear and read why. “VIVO SONHANDO” (LIVING ON DREAMS) is perfectly punctuated with Michael Spiro's shaker, cuica, and surdo. Allyson offers a capricious scat-match with Fleeman and Finck provides another facile-fingered bass clinic.

(Time to acknowledge drummer Todd Strait who propels this rhythmic tour de force with superlative expertise.)

“ESTRADA DO SOL” - a beautiful ballad (4/4 into waltz-time and occasional free time) was arranged by Allyson who again accompanies herself. “E COM ESSE QUE EU VOU” is an earthy romper, the colloquial translation of which encourages everyone to dance together – poor, rich, deputies, senators, et al. You'll savor

Gil Goldstein's funky piano interlude and enjoy Spiro's trunkful of toys.

Like all collectors gems, this gets better each time it's played. Happy listening!

—Carol Comer

Westchester Jazz Orchestra

All In

Personnel: Artistic Director and Conductor, Mike Holober; saxes/reeds/flute: Jay Brandford, Dave Brandom, Mike Migliore, Jason Rigby, Ed Xiques; trumpets/flügelhorns: Craig Johnson, Tony Kadleck, Jim Rotondi, Marvin Stamm; trombones: Larry Dean Farrell, George Flynn, Keith O'Quinn; piano: Ted Rosenthal; bass: Harvie S; drums: Tony Jefferson; percussion: Rogerio Boccato.

Tracks and composers: Caribbean Fire Dance (Joe Henderson), (No Longer) In the Mood (Joe Garland, arr. Ken Berger), Peace (Horace Silver), Ping Pong (Wayne Shorter), Naima (John Coltrane), Room 608 (Horace Silver), Turn Out the Stars (Bill Evans), Here Comes the Sun (George Harrison).

Recorded at Kaleidescope Sound, Union City, NJ. WJO Productions, 2007. Web site: www.westjazzorch.org

Seasoned, exceptional talent from the New York area jazz scene fills every chair and shapes each section of this WJO aggregation. Therefore, not surprisingly, this recording, the band's first, features arresting, exceptional solos and crisp, incisive ensemble work. It's a premier package of arrangements and performances, full of what Whitney Balliett called “the sound of surprise.” As a liner note mentions, “[The WJO]…includes brothers from other mothers – Herman, Gillespie, Hampton, Rich, Maynard, Thad & Mel, Sinatra, Ella, Ray Charles.” But “…[t]he attraction is not the drop of a name. It's the gathering of all this experience, passion, level of performance All In …one.” These composers, these arrangements, these soloists, and these ensembles together provide a living encyclopedia of contemporary jazz -- let's define “contemporary” as the past 60 years, yet with a focus on today. It all comes together, for me, in a mordantly witty minor-key “In the Mood.” That track is slightly mysterious, with a sense of suspense -- where will it go next? Dave Brandom's tenor solo maintains the mystery here. And then you hear the virtuoso bari sax of Ed Xiques -- very much his own sound, yet with echoes of Pepper Adams and the glory years of Thad & Mel. Other memorable solos are the majestic tenderness of Marvin Stamm's flügelhorn on “Peace” and Mike Migliore's tenor sax on three other tracks. As Johnny Carson once remarked after a boffo turn by Marilyn Maye on the Tonight Show , let's hear it likewise for the WJO: “That, ladies and gentlemen, is the way it's done.”

—Charlton Price

Jim Widner Big Band
Out of This World

Varying personnel: alto sax – Kim Richmond, Dave Pietro, Wayne Delano; tenor sax – Peter Gallio, Mary Fettig, Chip McNeill; baritone sax – Jon Stone, Gary Anderson; trombone – Brett Stamps, Paul McKee, Dave Stamps, Cody Henry, Scott Whitfield, Peter Madsen; bass trombone – Tom Matta, Matt Hoorman; trumpet—John Harner, Mike Vax, Clay Jenkins, Dave Scott, Tijuana Julian, Allen Beeson, Andy Tichenor; piano – Chip Stevens, Ken Kehner; drums – Gary Hobbs; guitar – Bob Borgstede; bass and leader –Jim Widner.

Tracks: Out of This World, Alone Together, Embrace, You Must Believe in Spring, Time after Time, Horizon Under, When You're Smiling, I Can't Get Started, Poetry.

Recorded at Nick Sibley Music Studios, Springfield, MO. Chase Music Group, 2007.

Website: www.jimwidnerbigband.com

This very satisfying outing by the Widner Big Band is the latest of several by the St. Louis –based group. It brings fresh treatments of six standards, plus noteworthy originals by band members Dave Pietro and Kim Richmond. And several members of the group – Richmond, recent Kansas Citian McKee, Whitfield, Pietro -- provide almost all the arrangements. Some of this music is diatonic, some in freer form, all freshly crafted, with performances that swing. It's not surprising that this should be so. The Widnerians are a highly experienced, multi-talented bunch. Every member of the band is a composer, arranger, and/or teacher as well as a player. Jim Widner says he was strongly influenced and motivated by Stan Kenton to work with young student musicians. For 21 summers he has been a faculty member, later the organizer and director, of summer music camps. The creds lists of both Widner and other band members include gigs of all kinds here and abroad -- touring, concerts, festivals, teaching -- with a wide array of big names in the music. The solid competence and elegance of groups such as this, featuring noteworthy soloing and deft arrangements, keep appreciation of and support for the big band sound in jazz not just alive, but flourishing.

—Charlton Price

The Brandon Draper New Quintet
Brandon Draper New Quintet

Personnel: Brandon Draper, drums and percussion; Craig Akin, bass; John Brewer, Rhodes; Kevin Cerovich, trombone; Rich Wheeler, tenor saxophone.

Tracks: Solace, Tree Blues, New Steps, Aways, Mr. Jives Woodshed, Looking Up, Zenkov Plains, Thrasy.

Recording Engineering and Production: Brandon Draper, 2007.

There's a little bit of jazz, a little bit of hip hop, rhythm and blues, indie rock, world music genres…what have I left out? Add it in; it's probably in there. The Brandon Draper New Quintet has a unique sound to it. That's partly due to innovation and partly due to the original compositions by Brandon Draper. Unrestricted by cover songs, Draper and his quintet are allowed to let loose, and they do a good job.

As a child growing up in a musical household, Draper discovered his passion for musical creation and recording at an early age. At five years old, Draper was sitting in with his father's blues band and was experimenting with four-track recorders. He was also spending hours on his drum set. This has parlayed into a successful musical career by combining his talent for creating music with an exceptional ability to educate and inspire.

Draper is a transplant from Santa Fe, New Mexico, where Rob DeWalt of the “Santa Fe Reporter” wrote “Draper's range of ethnic styles has me hooked!” I would wholeheartedly agree. You get a wide range of underlying themes through this release. Each track has a different feel. Unlike a lot of jazz CDs, it's difficult to pigeonhole each track on this release. Many releases have covers, or have an R&B or Blues bent to them and follow that throughout the CD. Brandon Draper has transcended this and has created a release where each track is unique.

While each of the tracks seem to tie together from track to track with an underlying rhythm there does seem to be a uniqueness to each. This genre-crossing enables a listener to grasp each track and drop it into a genre with no problem at all but as a whole…impossible; the release is too unique.

Is Draper new to the KC scene? Yeah. But you can't hold that against him. He has ties to the Kansas City area, relocated to Kansas City area in 2006 and he has sought out some of KC's best younger players. His ability is phenomenal and I would not hesitate to catch Draper's quintet in person. I would love to hear “Mr. Jives' Woodshed” and “Thrashy”, my favorites among a release of gems, live.

Tristan Smith

Pat Metheny
Day Trip

Nonesuch Records
Personnel: Pat Metheny: guitar; Christian McBride: bass; Antonio Sanchez: drums.

Tracks: Son of Thirteen, At Last You're Here, Let's Move, Snova, Calvin's Keys, Is This America? (Katrina 2005), When We Were Free, Dreaming Trees, The Red One, Day Trip. All tracks composed by Pat Metheny.

Produced by Pat Metheny. Recorded Oct. 19, 2005 at Right Track Recording, New York, NY. Engineer: Pete Karam. Assistant Engineer: Hyomin Lee. Mastered by Mark Wilder at Sony Music Studios, New York, NY. Guitar Tech: Carolyn Chrzan. Technical Assistance: David Oakes. Production Coordinator: David Sholemson. Design by Barbara de Wilde. Cover painting by Josh George. For Nonesuch Records. Production Coordinator: Eli Cane. Editorial Coordinator: Ronen Givony. Production Supervisor: Karina Beznicki. Released in 2008.

This is not ordinary trio, and this is no ordinary album. Pat Metheny's dynamic trio performs a colorful, flavorful album that, while played expertly and cleanly, also captures the spontaneous feel of a live performance. All of the compositions are Metheny's, and they cover a variety of styles tastefully, including latin/fusion (“Son of Thirteen”), ballad (“At Last You're Here”), blues (“Calvin's Keys”), and reggae (“The Red One”).

The album features Metheny's guitar work well. Often, it sounds as if there are two guitars playing. Metheny accompanies himself that well, creating two voices with one guitar, making his own call and response, comping for himself with wizardry. Metheny also draws upon a colorful musical palette. Metheny and his guitar sound very different on different tracks. Of course, there are still his signature licks and his quick but lilting approach, but the soulful Metheny on the classic blues tune “Calvin's Keys” sounds little like the one on the rocking reggae tune “The Red One.” Perhaps a respect for the genre and authenticity of each piece creates this difference.

The album also features drummer Sanchez, whose colorful, intricate comping ranges from complex delicate cymbal patterns (ala Paul Wertico) to drum work that sounds more like a hand percussionist, or whole percussion section, rather than one man behind the drumset. Also, Sanchez's sophisticated sense of time is highlighted well in his solo on “The Red One,” portions of which harken to classic jazz solos such as Max Roach's “For Big Sid,” where a simple rhythmic motif is played and replayed with slight syncopated alteration, during which the drummer toys skillfully with the time of the phrase. Sanchez's solo is suspenseful, playful, and spirited. It not only demonstrates a good deal of limb independence and interdependence, but also a good sense of the simple rhythmic and melodic things that also impress a listener.

Christian McBride, on bass, serves as a solid anchor for the far-reaching, frenetic melodic activity passing around him. His work is subtle and soulful. And when he solos, we are reminded that the calm presence in the background has not only been leading us through the changes, but also has been melodic and soulful all along, as well.

One notable tune, the elegiac “Is This America? (Katrina 2005),” starts with Metheny playing simply and slowly, as if recounting the tragedy from some front porch, guitar on one knee. McBride joins him, walking, comping, and eventually bowing his bass for a brief solo in response. It is a short tune for the album, lasting 4:36; however, it is powerful. It is like a moment of silence or a prayer.

This is an album to play over and over. I have for the past three days. If you add it to your collection, you will enjoy it. It just may help lead you through the changes of your day.

—Kevin Rabas

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