Archive for carol morgan

Best Jazz Albums of 2017 (So Far): Closer Look, Pt. 2 – Instrumental Albums

Posted in Best Jazz Albums of 2017, CD Reviews with tags , , , , , , , , , , , , , , , , on August 7, 2017 by curtjazz

Let’s now look at my top 10 albums (and one EP), on the instrumental side:

Akua’s Dance – Akua Dixon (Akua’s Music)

Cellist Akua Dixon has collaborated with musical greats of numerous genres, from classical to Broadway; from R&B to, of course, jazz. Whatever the idiom, she brings a gorgeous tone and an unfailing sense of lyricism, to the music. On Akua’s Dance, her third project as a leader in the last six years, she plays a baritone violin, which is basically an over-sized cello.  The full and present sound of the instrument, along with her hard swinging backing trio, including the welcome addition of guitarists Freddie Bryant and Russell Malone, make this her best solo album, by far. She covers all bases, from fun jazz (“Dizzy’s Smile”), to an irresistible cover of Sade’s “Sweetest Taboo”, to a compelling, worldly-wise vocal on Abbey Lincoln’s “Throw It Away”. This album doesn’t sound like anything else on this list and that’s a great thing.

 

Back to Earth – Farnell Newton (Posi-Tone)

Portland, OR based Trumpeter/Composer/Educator Farnell Newton is one of the hardest working cats in the music business. Over the last few years, he has released a couple of very strong contemporary jazz projects (Class is Now in Session; Ready to Roll) and a fascinating collection of impromptu improvisations (10 Minute Trumpet Jams). On Back to Earth he has come home, with his first straight-ahead album in over a decade. And it is pure dynamite. Newton shows off his powerful chops and his flawless sense of swing, in a set of inventive originals, such as the soulful “Gazillionaire” and impressive covers, like a take on Freddie Hubbard’s classic “Arietas”, that does the legend proud. I’ve enjoyed all of Mr. Newton’s work over the years but I know that I will be reaching for Back to Earth, long after the end of 2017.

Boundary Issues – Chris Greene (Single Malt)

Like Farnell Newton, saxophonist Chris Greene’s star shines mostly on a regional basis, in this case, it’s Chicago. Regardless of his address, the dude just keeps dropping first-rate projects, that make me wish I lived closer to Chi-town, or that he toured more often. Boundary Issues, is an enjoyable set, that is very accessible but not at all patronizing. Mr. Greene’s saxophone is as rich and inventive as always and I have to give special props to Steve Corley for his next-level drum work. Most memorable track: a Silver meets Marley version of “Nica’s Dream”.

Brothers Under the Sun – Steve Nelson (HighNote)

Steve Nelson is one of the three best jazz vibraphonists alive today. But you may not have heard of him because he drops projects under his own name about as often as we experience a solar eclipse. He has spent most of his career elevating the works of others but when he steps out in front, it is an unequivocally special event. His latest album, a quartet date, is no exception. It’s a swinging mix of standards and originals, many of them composed by his friend and frequent musical partner, the late, great pianist, Mulgrew Miller. Brothers Under the Sun, is an elegant, swinging, good time from beginning to end; an exquisite musical statement and a subtle but fitting tribute to a giant who left us too soon.

Made in America – Bobby Watson (Smoke Sessions)

I love the concept of this album as much as I do the music. Saxophonist Bobby Watson, has created a tribute to a number of influential African Americans; some who are well known, such as Sammy Davis, Jr. and Butterfly McQueen; and a few others, such as Bass Reeves and Major Taylor, who sent even me scrambling to Google more about them. But Made in America is not a dry history lesson; it is a living, energetic, creative and unapologetically  jazzy appreciation of those who paved the way, sometimes at great cost. It’s also quite evocative, as Watson has dropped in smile inducing references, such as quoting “Wild Blue Yonder”, in the Wendell Pruitt tribute (“Aviator”) and Lewis Nash “tapping” out the rhythm on “G.O.A.T.” (for Sammy Davis, Jr.). This project succeeds on all levels. Kudos to Mr. Watson and all involved.

The Music of John Lewis – Jazz at Lincoln Center Orchestra, feat. Jon Batiste and Wynton Marsalis (Blue Engine)

John Lewis, the pianist and guiding light of the Modern Jazz Quartet, passed away over 16 years ago. For many, their knowledge of him begins and ends with the MJQ. However, John Lewis was one of the great jazz composers of his time and one of the most affecting blues pianists that I’ve ever heard. The biggest surprise is that it has taken so long for there to be a full-scale, recorded tribute to his music. Perhaps, it’s because only Wynton and the JLCO could do it right. The most pleasant surprise for me, is the stellar work of Jon Batiste on piano. I knew of Mr. Batiste and I knew he had an impressive musical pedigree but, through no one’s fault but mine,  I’d mostly heard him in his day job, as musical director for The Late Show with Stephen Colbert. Mr. Batiste, who is just 30, is a fantastic pianist, who embodies Lewis’ elegant swing, while adding a few of his own touches. The JLCO and Mr. Marsalis are of course, at the top of their game, the arrangements are inventive and the Lewis compositions selected, from “Django”, to “Two Bass Hit”, to “Spanish Steps”, are his absolute finest. As prolific as Mr. Lewis was, there is definitely need for a Volume 2 (and 3, for that matter). Let’s hope someone hears me.

Post Cool: Vol 1; The Night Shift – Carol Morgan (Self-Produced)

This disc appeals to me for so many reasons: First, it’s by Carol Morgan a trumpet player whose picture is in the dictionary under the phrase “criminally obscure”. Second, her front line partner is tenor saxophonist, Joel Frahm, who is next to Ms. Morgan in the aforementioned “photo”. Third, the music is fabulous. Nothing fancy, no big stars or pyrotechnics – it’s just four real pros, (Martin Wind – bass and Matt Wilson – drums, a couple of stellar musicians, round out the quartet – no piano), playing like it was the 2 am set in a small, smoky club. No frills, just damn good music. There are standards of the jazz canon (“Strollin'”, “Night in Tunisia”, “On a Misty Night”), given fresh life. There are also a couple of fine originals from Ms. Morgan’s and Mr. Frahm (“Night”, “Song for Mom”, respectively) that are very worthy additions. As of now, this set is only available via Ms. Morgan’s website (www.carolmorganmusic.com). It’s worth the trip because, while you’re there you might want to sample some of her other fine work.

Reach – Christian Sands (Mack Avenue)

Christian Sands first came on the jazz scene 15 years ago as a child prodigy who displayed flashes of brilliance that predicted a very bright future. Now at 27, with a number of high profile gigs under his belt, including his current spot as Christian McBride’s pianist of choice; Mr. Sands has dropped, Reach, his first major label album. Suffice to say those early predictions were accurate. His virtuosity on the keys has matured to the point where his runs are truly substantial.  His most impressive area of growth is as a composer. Sands wrote 8 of the album’s 10 songs, including impressive tributes to two of his influences; Chick Corea and Bud Powell. He has also composed a killer Latin track (“Oyeme!”) and a head nodding hip-hop groove (“Gangstalude”) . Additionally, there is an ominous, seven minute deconstruction of “Use Me”, the Bill Withers classic, featuring some killer jazz-rock guitar from Gilad Hekselman. Reach is a fine announcement of arrival from this young veteran.

Sabiduria – Eddie Palmieri (Ropeadope)

The greatest living bandleader in Latin Jazz has just turned 80 and he shows no signs of slowing down. As befitting someone who has been a major musical figure for six decades, the list of heavy hitters who join him for the celebration is impressive – Joe Locke is on vibes, Pretty Purdie, on the drums, Ronnie Cuber and Donald Harrison are two of the saxophonists, Marcus Miller, on bass and the list goes on. Sometimes, having so many guest stars can lead to confusion but that’s not the case here as Sabiduria is the strongest and most appropriately eclectic musical statement that I’ve heard from Mr. Palmieri in at least 15 years. There are tracks rich with history and some that explore new ground. And we’ve also got Locke and violinist Alfredo de la Fe, trading hot solos on “La Cancha”. Happy Birthday to “The Sun of Latin Music”. From the looks of things, he’s going to shine for quite a while more.

Serenade for Horace – Louis Hayes (Blue Note)

Another awesome octogenarian, Louis Hayes makes his Blue Note Records debut, as a leader, with this gorgeous, swinging tribute to his old boss Horace Silver. Thankfully, Mr. Hayes is experienced enough to not do a note for note regurgitation of the Silver classics, which are still fresh in most jazz fan’s minds and readily available. Instead, Serenade for Horace manages to capture the joyous spirit of Silver, while still making these tunes, some of which are over 60 years old, sound as if they were fresh compositions. A lot of this is due to the out in front presence of Steve Nelson on the vibes. Apart from his early work with Milt Jackson, Silver rarely worked with a vibraphonist, so Nelson leading the way on many of the tracks is invigorating. Gregory Porter drops by to sing his own new lyric on “Song for My Father”. Even if you own the Silver recording of all of these tunes, this disc is worth your while.

A Tribute to Art Blakey [EP] – Tony Allen (Blue Note)

Hell. Frickin’. Yeah!!! This is not a full album but a four song EP with an album’s worth of badass playing, as the legendary king of Afrobeat, Tony Allen, pays tribute to another percussion monster, the great Art Blakey. I love almost everything about this project – the song selection (“Moanin'”; “Night in Tunisia”; “Politely” and “Drum Thunder Suite”); the fresh sound of all of these familiar Blakey classics, when filtered through an Afrobeat lens; the cool, Buhaina-esque cover photo of Mr. Allen; the fact that the whole disc is begging to be sampled into a hot, hip-hop groove. So what don’t I love? It’s only four songs. It was just enough to make me want more. More Tony Allen and more Afrobeat Blakey, please!

And that’s our halftime show. A great first half of the year in jazz. I’ve got a stack of  CDs staring at me on my desk and even more album downloads in the computer waiting to be reviewed and shared with y’all. Gonna be a busy but rewarding rest of the year. More to come, soon. If you missed the complete list, see it HERE

Until then, the jazz continues…

Best Jazz Albums of 2017 (So Far)

Posted in Best Jazz Albums of 2017 with tags , , , , , , , , , , , , , , , , , , , on July 8, 2017 by curtjazz

farnell newtonI’ve been away from regular blogging for a minute. Through my show, I’ve gotten to hear a lot of first rate new projects during the first half of the year. So what better way to return to regular posts than to give recognition to the finest discs that I’ve heard so far this year. The list includes five vocal and ten instrumental albums (and one EP), listed in alphabetical order. The next two posts will be closer looks at the albums, including video clips.

Vocal Albums 

 

Instrumental Albums