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Four “Under The Radar” Tenor Saxophonists

Posted in Under The Radar, Unsung Saxophone Masters, Who's New in Jazz with tags , , , , , on June 19, 2013 by curtjazz

elias haslangerAs we said last week, there are a lot of fine, living saxophonists out there who are not getting their due. Last week we dropped a few alto players on you. This week we have four tenors. Again, there are others, these are just four that I’m listening to now. Each paragraph includes a link to the artist’s website, if any, and a link to a place to buy some of their music.

Elias Haslanger

When I’m looking for someplace to hear a great tenor saxophonist, I normally don’t head to Austin, TX. After hearing Elias Haslanger, I may have to add another stop to my itinerary. Elias has been on the scene for about 25 years. A Texas native, he attended the Manhattan School of Music and has played and recorded with Maynard Ferguson, Ellis Marsalis, Bob Dorough and even Bruce Springsteen. After paying his New York dues for many years, Haslanger decided to return home to Austin, where he has set up SRO shop at the famed Continental Club on Monday nights. Haslanger has named Stanley Turrentine as one of his major influences and you can hear traces of Mr. T all over Elias’ big soulful Texas Tenor sound. His latest album Church on Monday is a stone groove in the Turrentine/Shirley Scott mode, with Dr. James Polk, Ray Charles’s longtime musical director, on the B3.

Erica Lindsay

I first became aware of Erica Lindsay via her work with one of my favorite “Under The Radar” pianists, Sumi Tonooka. Born in San Francisco, Ms. Lindsay spent much of her formative years in Europe with her parents who had moved there during the sixties. This exposed her at an early age to the jazz of other American expatriates, such as Dexter Gordon, Benny Bailey and Mal Waldron.  Ms. Lindsay returned to the U.S. to stay in 1980, settling in New York and becoming part of the jazz scene, the performance art scene and writing music for television and dance.  On tenor, her sound is robust and powerful. The Coltrane influence is strong but you can also hear a bit of Gordon in there as well. Ms. Lindsay’s  discography is limited but quite good; the most highly recommended being Dreamer, her 1992 debut and Initiation, her 2008 collaboration with Ms. Tonooka.

Dayna Stephens

Like many fine musicians, you’ll see Dayna Stephens’ name in the credits of many of the better jazz albums of the last few years but his  discography as a leader is small. You can easily why others track this cat down. His tenor sound is a big, warm and clear, out of the Joe Henderson/Wayne Shorter school. Nevertheless, I would not call him a clone of either of these two giants as he has his own sound that is growing more distinctive. Those who he has played with include Gerald Clayton, Gretchen Parlato and Taylor Eigsti, who have all returned the favor on Stephens’ recordings. You can check out any one of his three albums but a great place to start is his most recent one, this year’s That Nepenthetic Place on Sunnyside Records.

I would be remiss if I didn’t mention that though Dayna Stephens is still active, he has been facing some very serious health problems. He suffers from a congenital kidney ailment, undergoes daily dialysis and is awaiting a transplant. His medical expenses, needless to say are tremendous. If you would like more information on how to help, you can go to HelpDaynaStephens.org.

Brandon Wright

The great James Brown trombonist Fred Wesley said that “Brandon Wright is a young White cat who sounds like an old Black man.” Well, I’ll leave the judgements concerning Melanin count to Fred.  I will say that Brandon Wright can play his butt off. A New Jersey native, Wright, who is now in his early thirties, is a veteran of the Mingus Big Band, Chico O’Farrill’s Big Band and an apprenticeship with Mr. Wesley. His two albums on Posi-tone, Boiling Point and Journeyman are impressive pieces of post-bop, in which Wright acquits himself quite well while surrounded by a veteran group of sidemen. Wright says that one of his earliest inspirations to play the saxophone came from seeing Lisa Simpson of the animated Simpsons, play her sax. Lisa has had a very successful run, let’s hope the same for Mr. Wright.

As always I hope that there’s a new discovery for you in at least one of these artists. If you like their work support them by seeing them live, buying their CDs or legally downloading their music. That’s the only way that we will keep jazz alive.

More “Under The Radar” living jazz artists next week. Until then, “The Jazz Continues…”

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A Rich Jazz Jam at Poor Richard’s

Posted in Jazz in Charlotte, Who's New in Jazz with tags , , , , , , on June 14, 2013 by curtjazz
Tim Scott, Jr.

Tim Scott, Jr.

“While we don’t want to come here and play a bunch of instrumental R&B, we also don’t want to be trapped in the traditions…” – Tim Scott, Jr.

When I conceived the idea of writing this post, it was supposed to be about the start of something big. As it turns out, we end up writing about a brief, shining moment.

On April 8th a group of young Charlotte based musicians had arranged to come together a Poor Richard’s Book Shoppe a local bookstore, for what was to be an every Monday night Jazz Jam Session. They were led by Tim Scott, Jr. a fine young drummer (no relation to the SC Senator, to my knowledge)  and his group “Fat Snacks”. They wanted to recreate the spirit of the old jams of the 40’s, 50’s and 60’s, which birthed some of jazz’s greatest stars and innovations. To do something like this in a place like Charlotte which is not (yet) known for its jazz scene was, to me, very exciting indeed.

It took me a while to find Poor Richard’s but once I did, I got chills from what I saw. The jam had already started and on the stage was a quintet of musicians, all from my estimation in their early to mid twenties and very talented. They were exploring the boundaries of jazz and what it meant to them. It was clear that they all had some knowledge of jazz traditions but they were not chained to conventions that were over half a century old. These young cats were all born in the late 20th century and came of age in the 21st. Their common language is not Tin Pan Alley, Jump Blues or even Motown but it is the hip-hop, R&B and rock artists of today.

Though many of my generation and older scoff at younger players for just this reason, I for one find it very exciting. It gives me hope for growth in the music I love and a sense that maybe jazz has a chance to get out of the museums and into the consciousness of some millennials.

There was an enthusiastic crowd of about two dozen people of all races, ages, sexes and sizes, jammed into the intimate Poor Richard’s space. People grabbed chairs, sofas and floor wherever they could and the mood was very relaxed.

The ten or so musicians who dropped into and off of the makeshift stage were generally excellent. Scott, Jr. took on the defacto role of leader, making announcements and introductions but also driving the band from behind his drum kit with shouts of encouragement and most importantly, a steady, driving beat. Jonny Fung on guitar has absorbed the lessons of the jazz and rock guitar greats into a cohesive sound that is fascinating. Tim Singh on bass is already a pro’s pro at his young age, commanding the rhythm and soloing with ease. Henry Cummings (you’ll see him in a green t-shirt in the videos) plays some cool melodies on his alto sax.

There was one musician who caught my attention above all others; Marcus Jones on alto sax. Looking relaxed in his backward baseball cap as he waited his turn, he was as unassuming as could be. But when he began to blow it was with the fire, precision and unrelenting creativity of a Cannonball Adderley. I had never heard Mr. Jones’ name before that night. I will not forget it from now on. Check out the accompanying video clips, for evidence of what I’m saying. Watch out for Marcus Jones, I expect that we will hear a lot from him outside of the Charlotte area.

It seemed as if the jam was an idea whose time had come. Attendance was good the first few sessions and word of mouth had created a bit of buzz behind it. But unfortunately fate intervened in an unkind way.  Poor Richard’s was unexpectedly forced to vacate its location on May 17. The Monday Night Jazz Jam had its final performance on Monday, May 13, a scant five weeks after it had begun.  We are left with the hope that either the bookstore will find another home that will welcome the music or that some venue in the area will champion the idea of a jazz jam and start the ball rolling again. Until then, we have a lot of hope and a few lasting memories. In spite of it all, jazz is alive in Charlotte, NC.

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Four “Under The Radar” Alto Saxophonists

Posted in Under The Radar, Unsung Saxophone Masters, Video Vault, Who's New in Jazz with tags , , , , , , on June 11, 2013 by curtjazz

tk blue - latin birdYou know what y’all? There are a lot of good saxophonists playing under the radar these days. As I set out to write this piece, I planned to scribble a few names down, pare it down to four and get it done. But a strange thing happened, as I scribbled the list just kept growing and growing. Long story short, there were so many that we’re splitting this first go around into alto and tenor saxophonists. Alto this week and tenor next.

So here in alpha order are four fine alto saxophonists who should get a wider hearing:

T.K. Blue

I first heard T.K. Blue (aka Talib Kibwe or Eugene Rhynie) several years ago when he was playing on a session by a drummer whose name I now forget. As I now recall, Mr. Blue was the only redeeming thing about that session. I’ve kept up with his work from that point on and he has continued to impress me both as a sideman and on his own releases. Like many alto saxophonists, Mr. Blue has been strongly influenced by Charlie Parker but his Caribbean roots add another layer to his sound that makes him unique. I strongly recommend his two most recent projects: Follow The North Star, a fascinating musical retelling of the story of Solomon Northup and his book Twelve Years a Slave and Latin Bird, which as you may have guessed is a Latin and Caribbean tinged romp through the music of Charlie Parker.

Sharel Cassity

This Oklahoma City native got her big break when she sat in at a New Year’s 2008 jam session in NYC. She followed Roy Hargrove and Antonio Hart’s solos on “Be-Bop”. She acquitted herself so well that Hargrove and Jimmy Heath, who was in attendance, both asked Ms. Cassity to join their big bands on the spot. In addition to stints with both of those bands, this graduate of The New School and Julliard has appeared with the Diva Big Band, Nicholas Payton, Christian McBride, Mark Whitfield and many others. Her greatest triumph though has been Relentless, her critically acclaimed 2009 disc. We expect to hear much more from Ms. Cassity in the future.

Tim Green

Like this writer, Tim Green was “raised in the church”; like me, he also was influenced by all kinds of music, secular and Christian.  The Baltimore native, who finished 2nd in the 2008 Monk Saxophone Competition, has played and recorded with a wide range of artists from Kirk Franklin to Kenny Burrell to Donnie McClurkin and Hubert Laws. His work on the alto  has been lauded by musicians of all stripes and Jazz Times has called Green ” a player to watch”. His most recent release Songs From This Season, has been heralded by the critics and will likely end up on a number of this year’s “Best Of” lists. Mr. Green is not likely to be under the radar for long, be the first on your block to ‘discover’ him.

Sherman Irby

A melodic alto player out of the Cannonball Adderley school, Mr. Irby has been around for the better part of 15 years; as a solo artist as well as a sideman for Wynton Marsalis, Roy Hargrove, Marcus Roberts and others. He released a couple of strong albums for Blue Note in the late ’90’s, Full Circle and Big Mama’s Biscuits but they got lost in the glut of “New Young Lions” releases of that era. Of late, Irby has been a member of Wynton’s Jazz At Lincoln Center Orchestra and produced some very strong work on his own Black Warrior record label, of which two albums, Black Warrior from 2006 and 2011’s Live at the Otto Club, are standouts.

Be sure to use the links throughout this post to get more info about the artists whose music you enjoy and most importantly, support them by attending their concerts if they come to your area and buying their CDs or legally downloading their music.

Next week we’ll cover some tenor sax players.

Until the next time, the jazz continues…

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Jazz Under the Radar – Four Trumpets That You Should Hear

Posted in Video Vault, Who's New in Jazz with tags , , , , , , , on June 5, 2013 by curtjazz

Keyon HarroldIf you’re familiar with my Twitter Feed, you know that on Mondays (#MusicMonday as it’s known in the Twitterverse), I usually at some point during the day will ask followers to check out the music of a living, working musician that they are unfamiliar with.

I do that because as much as I love the jazz classics, I realize that if this music is to have any hope of a future it will come not at the hands of Miles, Monk and Diz but with the musicians who are out there today, working and creating music that is influenced not only by the past masters but by what is happening out there now. So if by dropping that little reminder each Monday, I can get someone to dig and then support ($) someone new, maybe I will have done a little something.

As I’ve done this, I’ve had people reply with the request that I give them a few suggestions of artists to familiarize themselves with. Those who are playing  and recording great music but have managed to miss the general attention of much of the jazz public.

So even though this is a Wednesday, I’m going to start what I hope to make a Monday tradition – “Jazz Under the Radar”; in which I’ll suggest a few artists who might have missed your attention but are definitely worth checking out.

We’ll start with a few trumpet players and we’ll switch the categories up each week. There will be a video clip and a link to the artist’s website, if any, and to an album or two that you can currently purchase. Here are four, in alphabetical order:

Rebecca Coupe Franks

A protegé of the late tenor giant Joe Henderson, Ms. Franks (or “Coupe” as she is often called) has been on the scene for over 20 years, logging credits with Henderson, Kenny Barron and Herb Ellis among others. She first caught my ear on My Appreciation, a 1991 studio jam session that was released under Bill Cosby’s name. She has released a number of albums over the years, including Suit of Armor, her solid 1992 debut as a leader, which featured Henderson and her most recent, Two Oceans a two disc set on which she is backed by Luis Perdomo, Mimi Green and Rodney Green.

Check out the clip below and “Coupe” might just catch your ear, too.

Keyon Harrold

When have been sought by artists from Jay-Z to Fred Hammond to Maxwell to Charles Tolliver, to perform on their projects, you know that you’ve got it going on.  And Mr. Harrold certainly does. He counts Eddie Henderson and Jimmy Owens as teachers and Wynton Marsalis and Tolliver as mentors, so his knowledge of jazz traditions is excellent but since he’s in his early 30’s hip-hop has also had a strong pull. His technique is very strong, with the power of Morgan and the  swagger of Hubbard. Harrold has one album to his credit as of today, 2009’s Introducing Keyon Harrold on Criss Cross. Rest assured, you will hear more from him.

Melvin Jones

The 2011 Atlanta Jazz Festival had just begun. Vocalist Audrey Shakir was about 15 minutes into her set, when her trumpet player stepped forward to deliver a killer solo on the song that they were playing and then another on the next tune. I had never seen this young man before and his name wasn’t immediately announced so I put out an APB into the Twitterworld: “who is the young cat playing trumpet with Audrey Shakir? He is the real deal!” A few minutes later the answer came – Melvin Jones. At about the same time, Ms. Shakir disappeared from the stage for the rest of the set. We later found out that she had wilted under the blazing Memorial Day weekend sun. Mr. Jones and the band picked up the ball and ran with it. Most of the audience barely noticed the singer’s absence.

Melvin Jones returned with his own set for the 2012 AJF. As you will hear in this clip that I recorded then, the previous year was not a fluke. The Atlanta-based Memphis native has one album out. The title is Pivot. It is worth checking out.

By the way, the saxophonist in the clip is Mace Hibbard, another very good musician who’s under the radar.

Jason Parker

This Seattle-based cat is like Ms. Franks,  a 20+ year veteran of the jazz wars. He’s a fine soloist with a buttery middle tone and an easygoing swing. He writes memorable compositions that tend to stick with you after hearing them just once. He’s also a compelling writer, having written extensively about his musical life in his blog “One Working Musician”.  His recorded work reflects the indie spirit of Mr. Parker’s hometown and it’s refreshingly unconventional. I suggest that you start with the most recent two: No More, No Less, which was a Curt’s Cafe Best of 2009 selection and Five Leaves Left a distinctive Nick Drake tribute from 2011.

But don’t take my word for it, just listen to “Bashert”.  Then try to get that subtly beautiful melody out of your head afterwards.

Well, those are four but there are many more. If you’re familiar with all of them, then count yourself fortunate and look for others. If one of these names is new to you, check them out. Support the music of living, working musicians.

Next week, we’ll feature saxophonists.

Until then, the jazz continues…

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Mulgrew Miller – A Video Memorial

Posted in In Memoriam, Video Vault with tags , , , on June 1, 2013 by curtjazz

mulgrew millerAs most jazz fans know by now, Mulgrew Miller passed away on May 29 at 57, due to complications from a massive stroke he had suffered a few days before.

Though casual jazz fans may not have known his name, he was considered by many (myself included) to be one of the outstanding pianists of his generation.

Much has been written in the last few days about the man and his art by those far more knowledgeable than I, so I will let their words suffice as many of those who have written knew “Grew” personally.

Instead I would like to pay tribute by posting three of the many fine performances that he delivered over the years and a few sage words of wisdom from the man himself, that he shared with some young musicians. I’ve also listed a few of his best recordings as a leader, for those with some catching up to do.

Rest in Peace, Brother Mulgrew. The musical world that was so enhanced by your presence is diminished incalculably by your departure.

Recommended Recordings

Work (Landmark) – One of his earliest dates as a leader with Charnett Moffett on bass and Terri Lyne Carrington on drums. Out of Print and expensive. Grab it if you see a reasonably priced copy.

Hand in Hand (Novus) – My personal favorite. Eddie and Joe Henderson, Steve Nelson on vibes, Lewis Nash on drums, a young Christian McBride and Mulgrew’s compositions and amazing solos. One of the best jazz albums of the ’90’s. Also Out of Print.

The Sequel (MaxJazz) – This was a 2002 revival of Wingspan, a formidable quintet that Miller had originally formed in 1987. This time around they were a sextet with the addition of Duane Eubanks on trumpet. Though the membership is mostly different, they hadn’t skipped a beat in 15 years, due mostly to Mr. Miller’s strong guiding hand. CD is OOP but it’s currently available on mp3 at a very reasonable price.

Live at Yoshi’s – Volume Two (MaxJazz) – This was the second of two excellent volumes that Miller and his trio recorded at the famed Bay Area jazz club in a 2003 session. The reason that I give this set the nod over number one is simple; Volume Two is still available on mp3 for those who want it.

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2013 Atlanta Jazz Festival – Hate To Miss It but We’ll Be Back

Posted in Atlanta Jazz Festival 2013 with tags , , , , , on May 24, 2013 by curtjazz
Layers by Charly Palmer - signature artwork of the 2013 Atlanta Jazz Festival

Layers by Charly Palmer – signature artwork of the 2013 Atlanta Jazz Festival

It’s funny how something can become a part of you so quickly.

I had never attended the Atlanta Jazz Festival before 2011. But after having been at the last two, it had already become something that just felt right on Memorial Day Weekend –  the crowds, the atmosphere, spending quality time with my family and of course, the great music. As 2012 gave way to 2013, the 36th AJF was definitely marked on my calendar.

Then, as many of you know, I faced some unexpected health problems earlier this year. I am recovering quite well, thanks to God and my doctors but my initial recuperation made for some challenges of the kind we didn’t expect, in the area of time off from our “real jobs” to be in Atlanta all weekend.

So my wife and I talked it over and we very reluctantly decided to take this year off from the AJF. It’s scheduled to start tomorrow and man, it feels weird not to be packing a bag and prepping to head to Atlanta in a few hours. It has also felt a little odd to not write my series of festival preview articles for this blog over the last couple of weeks.

So here’s the schedule for the weekend. Kudos to those who program the AJF because the schedule gets stronger and more relevant each year. If you’re a jazz fan and in the ATL this weekend you have to go. And as usual, the AJF events at Piedmont Park are free.

Save me a spot on the lawn and in the hospitality tent because CurtJazz and the crew will be back at Piedmont Park in 2014!

36th Atlanta Jazz Festival – Piedmont Park May 25 – 27, 2013

Saturday, May 25

Main Stage

  • 1pm – Stephenson High School Jazz Ensemble
  • 3pm – Aaron Diehl Quartet
  • 5pm – Alexandra Jackson
  • 7pm – Meshell Ndegeocello
  • 9pm – Ambrose Akinmusire Quintet

International Stage

  • 2pm – Tri-Cities High School Jazz Band
  • 3:30pm – Aruán Ortiz Quartet
  • 5:00pm – Rio Negro
  • 6:30pm – Cécile McLorin Salvant

Sunday, May 26

Main Stage

  • 1pm – North Atlanta Center for The Arts Jazz Band
  • 3pm – Rialto Jazz for Kids All Star Jazz Band
  • 5pm – Jacob Deaton and the Tribulaton Band
  • 7pm – Gretchen Parlato
  • 9pm – Tia Fuller

International Stage

  • 3:30pm – J. C. Young Middle School Jazz Ensemble
  • 5:00pm – Ginou Oriol
  • 6:30pm – Rudresh Mahanthappa’s Gamak

Monday, May 27

Main Stage

  • 1pm – Benjamin Mays High School Jazz Orchestra
  • 3pm – Rialto Youth Jazz Orchestra
  • 5pm – Julie Dexter
  • 7pm – The Dominick Farinacci Group
  • 9pm – José James

International Stage

  • 3:30pm – The Westlake High School Jazz Ensemble
  • 5:00pm – Uri Gurvich Quartet
  • 6:30pm – The Miguel Zenón Quartet

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A Room of Our Own in Charlotte

Posted in Jazz in Charlotte, The Jazz Continues... with tags , , , , , , , on May 19, 2013 by curtjazz

The Jazz Room - Spring 13In the dozen or so years that I’ve called Charlotte home, the city’s relationship with the music I love has been at best, tenuous. Big name artists will come to town occasionally for a night, on their way to somewhere else. There have been several clubs that have used the word “jazz” in their name but how much actual jazz was performed in them was often limited. I think that those involved liked the idea of being a “jazz club” and the aura of coolness that went with the moniker but most of the time what you got when you walked through the doors was rehashed instrumental funk and loud, second-rate R&B groups.

Meanwhile most of us lovers of traditional jazz were left to either wait for the headliners to pass through or support these local so-called jazz clubs, hoping to be thrown an occaisonal bone for our patience. All the while wishing to have a room of our own, where we could hear the jazz of Miles, Diz, Monk and Newk.

Thanks to Lonnie Davis and the great people of the Jazz Arts Initiative (JAI) of Charlotte, our patience has been rewarded.

Last month the JAI premiered “THE JAZZ ROOM”, which for now is occurring on the 3rd Tuesday of every month at the Stage Door Theater; a black box space in the Blumenthal Performing Arts Center in Charlotte’s Uptown business district. Through the magic of stagecraft, the space is transformed into an elegant jazz club, complete with candlelit tables in the front of the room and general admission seating toward the rear. The concerts begin at 6 pm, allowing those who are getting off from work in the area to come in after a hard day, have a drink and hear some great jazz played by some of the finest musicians that this region has to offer. Tickets for each event are currently a very reasonable $10.

The Jazz Room - Spring 13

The series got off to a great start in April with pianist Chad Lawson paying an outstanding tribute to the music of Bill Evans before a sold out and very enthusiastic audience. The series continues on May 21 with trumpeter Mark Rapp leading a quintet, playing the music of Miles Davis. This performance is already nearly sold out. The next two dates have also been announced with trombonist Tyrone Jefferson in a tribute to Slide Hampton on June 18 and saxophonist Tim Gordon honoring Dexter Gordon (no relation) on July 16th.

Jazz Room 3

Would we like for THE JAZZ ROOM to be open more than once a month? Of course; but let’s face it, you’ve got to crawl before you walk or run. Any kind of jazz series, contemporary or traditional, is a tough sell in this economy so building an audience incrementally is a wise business model. Right now it seems as if Ms. Davis and the JAI may be onto something which will work in the long run and we Charlotteans who love jazz are very, very grateful. Kudos to Lonnie, Ocie, Glyn and all of those in the leadership of the JAI.

By the way the onstage MC at THE JAZZ ROOM is a grizzled veteran jazz radio DJ/magazine columnist/blogger named Curtis Davenport. Please try to forgive his corny jokes; he writes his own material.

For more information on the JAI and THE JAZZ ROOM, visit the JAI Website. To purchase tickets for any of the upcoming JAZZ ROOM events, go to Carolina Tix.

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As I Was Saying…

Posted in The Jazz Continues... with tags , , , , , on April 4, 2013 by curtjazz

Hey Y’all!

I know I haven’t been around in a while…

No, I was not so disgusted by the results of the Grammy’s in the Jazz categories that I quit. Most of those results, I saw coming anyway (except for the absurd Latin Jazz Grammy victor but don’t get me started on that!).

Actually, it was prostate cancer that put me out of action for a while. I had a radical prostatectomy on February 12.

Though my cancer was Stage II and apparently localized, I did end up with a couple of post surgical non-cancer related complications that put me back in the hospital twice more in the two weeks following my surgery. Though I dropped into Twitter and Facebook periodically, I really hadn’t gotten back my focus to the point where I was ready to blog.

The day after my surgery. Nothing else to do, so I shot this lovely self portrait.

The day after my surgery. Nothing else to do, so I shot this lovely self-portrait.

However, in the past three weeks, my health, physical and emotional, has taken a dramatic turn for the better. I’m back in the gym, back at work and now, back in the blogosphere.

A lot has been happening in the jazz world since my unplanned hiatus so we’ll have a lot to talk about over these next few posts. But that will come later. For now, I’ll just say I’m glad to be back and I’ll leave you with a couple of video clips:

A great performance by the Godfather of Soul in his inestimable prime, with a message that I wholly embrace:


And “Recovery”, a fairly obscure track from Milt Jackson and the Clayton Hamilton Jazz Orchestra, when “Bags” in his twilight, was on the mend from a serious illness.

I do “Feel Good” and I am “Recovering”, all thanks and praises be to God!

That’s all for now…Until the next time, the jazz continues…

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2013 Jazz Grammy® Preview #6 – Jazz in “Exile”

Posted in 2013 Grammys with tags , , , , , , on February 6, 2013 by curtjazz

For our penultimate (I know that I said this would be the last one, but there will be one more after this) look at jazz artists nominated for Grammys in 2013, we will look at three categories in the R&B field that feature one artist who is generally considered to be a jazz musician. These albums/performances got no love from the Jazz Grammy nominating committee but those in the R & B area had the good taste to recognize them.

Best R&B Performance

“Thank You” – Estelle (from All of Me [Home School/Atlantic])

“Gonna Be Alright (F.T.B.) – Robert Glasper Experiment Featuring Ledisi (from Black Radio [Blue Note])

This is one of two nominations for Glasper’s much discussed Black Radio album. The heralded young jazz pianist let his R&B and hip hop influences show all over the disc. I for one found it exciting and refreshing (see CurtJazz’s Best Jazz Albums of 2012). Many other jazz traditionalists scoffed at it. On this track Glasper featured Ledisi, an R&B vocal powerhouse, who has also shown a past appreciation for jazzy things. If the track sounds familiar it’s because this is a vocal version of “F.T.B.”, which is a track on Mr. Glasper’s 2007 album In My Element. The lyrics and the stronger beat are a nice touch. Glasper is up against some tough competition here but to my ears “Gonna Be Alright” compares favorably with the other nominees… I wish him the best.

“I Want You” – Luke James [Mercury]

“Adorn” – Miguel [RCA/Bystorm Entertainment]

“Climax” – Usher (from Looking 4 Myself [RCA])

Best Traditional R&B Performance

(“Grown Folks Music”… Now we’re back in my wheelhouse! Therefore, I will drop a few comments)

“Lately” – Anita Baker [Blue Note]

Good to hear from Anita. Sounds like something from her classic ‘80’s period. Looking forward to the rest of the album.

“Love on Top” – Beyoncé (from 4 [Columbia])

Catchy tune by Mrs. Carter – great beat; irresistible hook.

“Wrong Side of a Love Song” – Melanie Fiona (from The MF Life [SRC])

My goodness! This girl can SANG! A memorable retro torch song.

“Real Good Hands” – Gregory Porter (from Be Good [Motéma])

Jazz vocalist Gregory Porter’s sophomore album was every bit as good as his debut.It was one of our Best of 2012.  But again, it was criminally ignored in the Jazz Vocal Grammy category. At least he did get a nod from the R&B voters for this soulful track. The cut is a winner but Porter is up against some real stiff competition. It’s a Grammy night long shot.

“If Only You Knew” – SWV (from I Missed Us [Mass Appeal/E1 Music])

SWV (Sisters With Voices). It’s good to hear this trio of NYC natives reunited. They sound as good as ever and they demonstrate excellent taste with their cover of this Philly Soul classic made famous by Patti Labelle.

Best R&B Album

Black Radio – Robert Glasper Experiment (Blue Note)

This nomination speaks volumes. The jazz world isn’t open minded enough to consider this work of art but the supposedly shallow, profit minded world of R&B is. I’ll say it again; I view this album as breaking needed new ground in a 21st century direction for jazz. But I admit to being in the minority. There are some fine albums in this category that are more along the lines of mainstream R&B, so a win here by Mr. Glasper isn’t probable but it is definitely possible.

Back to Love – Anthony Hamilton (RCA)

Write Me Back – R. Kelly (RCA)

Beautiful Surprise – Tamia (Plus 1)

Open Invitation – Tyrese (Voltron Recordz) 

You can hear tracks from Robert Glasper, Gregory Porter and other Grammy nominated jazz artists and albums on Curt’s Café Noir, our 24/7 web radio station,through February 10. We feature these tracks daily, from 4 pm – 6 pm on “The Grammy Show”. Click here to listen.

Our last post (we mean it this time!) about the 2013 Grammys will feature the nominees for “Best Instrumental Composition”, a category which happens this year to feature all jazz artists.

Until then, the jazz continues…

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2013 Jazz Grammy® Preview #5 – Best Latin Jazz Album

Posted in 2013 Grammys with tags , , , , , , , on February 3, 2013 by curtjazz

Out of all of the Jazz Grammy Categories, it gives me the most satisfaction to write about this one. Not because of the albums nominated, which are frankly, an uneven bunch, but because the Grammy nominating committee has righted a wrong that they committed last year when they dropped this category altogether.  Thanks to the efforts of Bobby Sanabria and a host of other Latin Jazz musicians, scholars and aficionados, this award has been restored to its rightful place. The fight should not end here as there are a number of other categories that NARAS needs to reinstate, however this is a step in the right direction

The nominated albums are:

Flamenco Sketches – Chano Dominguez (Blue Note)

There are many who loved this project, which is essentially a reimagining of Miles Davis’ legendary Kind of Blue album, using Flamenco and other Latin rhythms; I am not one of them.  While I don’t think that it was necessarily a horrible idea, for me there is something missing in the execution. Mr. Dominguez is a gifted pianist and he and his bandmates give it their all, but except for a couple of spots (the stunning title track and “Blue in Green”), the project doesn’t mesh as well as one would hope. Apparently however, the Grammy nominating committee does not share my view and this album has been nominated.

¡Ritmo! – The Clare Fischer Latin Jazz Big Band (Clavo)

Clare Fischer passed away in early 2012. He was widely respected as a practitioner of Latin and Brazilian music and many musicians who have gained fame in Latin music, such as Poncho Sanchez and Alex Acuña have passed through his groups. With all due respect, while Mr. Fischer penned some timeless Latin tunes (“Morning” and “Pensativa”, to name two) and wrote many marvelous arrangements for artists ranging from Dizzy Gillespie to Prince, IMO his Latin Jazz recordings often lacked clave, the rhythmic intangible that is a key to great Latin music. On this album, there are as usual, some good tunes and solid arrangements by Clare Fischer; conducted by his son, Brent. But there is an overall politeness to these proceedings which prevents the album from being anymore than just “good”.  And I’m sorry but  a number of the statements made by Brent Fischer in the accompanying video (including the jaw-dropping assertion that ¡Ritmo! “is the first all Latin Jazz CD in a big band setting”) are at best, ignorant.

Multiverse – Bobby Sanabria (Jazzheads)

How sweet it must be for Bobby Sanabria. He not only spearheaded the successful  drive to have the Best Latin Jazz Album category restored to the Grammys, but his latest album Multiverse, is also nominated for the award. Multiverse doesn’t stray far from the formula that has made Mr. Sanabria a successful Latin Jazz bandleader for the better part of two decades – hard driving horns, relentless rhythm and a big dose of Nuyorican swagger. It’s danceable, listenable and great fun. Based on all that he has invested in getting this category back on the list, I’m personally rooting for Sanabria to win on Grammy night. But he does have some formidable competition from the two remaining nominees.

Duos III – Luciana Souza (Sunnyside)

Duos III is the marvelous Brazilian vocalist’s second nomination for a 2013 Jazz Grammy, the other coming in the Best Jazz Vocal Album category for Book of Chet, which was released simultaneously with this disc. Duos III is the final album in Ms. Souza’s Brazilian Duos trilogy. Accompanied only by one of a trio of master guitarists, Romero Lubambo, Marco Pereira and Toninho Horta, Ms. Souza is as captivating as ever, as she effortlessly interprets some well-known and not so well-known Brazilian tunes. Frankly, I could listen to this record all night and not tire of it.  I know that she says that this is the last one but with music this good, I’m hoping that someone will convince Ms. Souza to record a fourth “duos” volume in the near future. It’s another strong contender to win the Grammy.

New Cuban Express – Manuel Valera New Cuban Express (Mavo)

New Cuban Express may be the breakout album for the young Cuban born pianist.  It’s not a Latin Jazz album in the traditional sense, but it’s an amalgam of Latin jazz, funk and 70’s fusion. If you’re thinking of something along the line of Irakere during its heyday, then you’re on the right track.  Valera does great work from start to finish but his fellow Cuban, the formidable alto saxophonist Yosvanny Terry gives the leader a run for his money, with his skittishly powerful lines threatening to steal the show. I’d have to say Mr. Sanabria and Ms. Souza are the favorites but it wouldn’t be a crime if Mr. Valera was the Grammy winner.

Tracks from these and other Grammy nominated jazz albums can be heard on Curt’s Café Noir, our 24/7 web radio station,through February 10. We feature these tracks daily, from 4 pm – 6 pm on “The Grammy Show”. Click here to listen.

The final Grammy post will feature “Jazz in Exile”; albums by jazz artists that were nominated for Grammys this year, in categories outside of jazz.

Until then, The Jazz Continues…

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