<strong>Jersey</strong>Reviews<strong>Jazz</strong>O<strong>the</strong>r ViewsBy Joe Lang NJJS Music Committee Chairs usual, I have some non-NJJS inventory itemsAto discuss. I hope you find some appealingsuggestions here.■ One of <strong>the</strong> joys of having recorded music is thatit’s usually <strong>the</strong>re for a long, long time. In <strong>the</strong> situationswhere something is recorded but not released,at least <strong>the</strong> potential is <strong>the</strong>re to share it as long as<strong>the</strong> source material is saved in some reproducibleform. In 1982, Roger Rhodes, inspired by seeing<strong>the</strong>m in a club, got pianist BEN ARANOV andbassist JAY LEONHART into a studio to record analbum. Twenty-four years passed before this recordinghas gone public. Alone Toge<strong>the</strong>r (WolfRoseRecords – 6001) is worth <strong>the</strong> wait. Putting twocats as talented as <strong>the</strong>se in front of some microphonesis a decision of great wisdom. Aranov is apianist of enormous elegance and creativity.Leonhart has long been among those at <strong>the</strong> top rankof bassists, a gentleman with a faultless sense oftime and a capacity to make his instrument sing.The empathy between Aranov and Leonhart isevident throughout <strong>the</strong> 13 tracks. Both of <strong>the</strong>m alsoknow how to pen a tune, with Aranov contributing“Bye” and “One for <strong>the</strong> Rhode,” and Leonhart payingtribute to two of <strong>the</strong> masters of his instrument with“Pettiford Brown.” Thankfully, Rhodes left <strong>the</strong>se menAlone Toge<strong>the</strong>r in a studio all those years ago, andhas opted to share <strong>the</strong> musical riches that resultedwith all of us. (www.RogerRhodesMusic.com)■ The three tenors and one baritone sax “FourBro<strong>the</strong>rs” sound that Jimmy Giuffre immortalizedin his composition of that name for <strong>the</strong> WoodyHerman band is one of <strong>the</strong> most distinctive andappealing sounds in <strong>the</strong> history of jazz. On4 Bro<strong>the</strong>rs 7 (<strong>Jazz</strong>ed Media – 1019), FRANKTIBERI, leader of <strong>the</strong> Woody Herman Orchestrasince <strong>the</strong> death of Herman, has ga<strong>the</strong>red threeo<strong>the</strong>r ex-Herman reedmen and an ex-Hermanrhythm section to produce an album of 11 songsthat is a wow from start to finish. The players areTiberi on tenor and soprano saxes, Larry McKennaand John Nugent on tenor saxes, Mike Brignola onbaritone sax, David Berkman on piano, Lynn Seatonon bass and Matt Wilson on drums. They open with“Four Bro<strong>the</strong>rs;” add some o<strong>the</strong>r Herman orientedmaterial, “The Goof and I,” “Woody’s Whistle,”“Woody’n You” and “Woody’s Lament;” throw in acouple of Tiberi originals, “Buzzogle Boggled” and“The Garz and I;” play one standard “Just You, JustMe;” add a touch of Coltrane with “Central ParkWest;” and close with Hank Mobley’s “TenorConclave,” a piece written for a recording thatbrought toge<strong>the</strong>r Mobley, Coltrane, Zoot Sims andAl Cohn. All of <strong>the</strong> participants succeed in recapturing<strong>the</strong> distinctive sound that was so special in <strong>the</strong>Herman band, but <strong>the</strong>y have <strong>the</strong>ir own personality.This is not an album of nostalgia, but a new albumthat stands on its own feet. (www.<strong>Jazz</strong>edMedia.com)■ The Sidney Bechet <strong>Society</strong> has always presentedtop-flight concerts. In a Tribute to Storyville byWYCLIFFE GORDON AND THE SBS ALL-STARBAND is a fine example of this. Taken from anApril 21, 2006 concert held at <strong>the</strong> Flushing Town Hall,trombonist Gordon and his cohorts, Evan Christopheron clarinet, Jon-Erik Kellso on trumpet, Eric Reed onpiano, Vince Giordano on bass and Winard Harper ondrums, are in fine form as <strong>the</strong>y assay 11 classicsfrom <strong>the</strong> catalog of traditional jazz tunes. The songsare “Pretty Baby,” “Basin Street Blues,” “Let Me CallYou Swee<strong>the</strong>art,” “Sweet Substitute,” “Jungle Blues,”“Going Back to Storyville,” “Buddy Bolden’s Blues,”“St. Louis Blues,” “Struttin’ with Some Barbeque,”“Winin’ Boy Blues” and “Tiger Rag.” Gordon andChristopher add an occasional vocal, while tapdancers Lance Liles and Calvin Booker join in on“Struttin’ with Some Barbeque.” This is a concert ofjoyous music played by six master musicians. Get itand grin! (www.sidneybechet.org)■ Put Oscar Peterson, Ray Brown and MiltJackson toge<strong>the</strong>r, and you expect jazz that willlight you right up. Well, <strong>the</strong>y were toge<strong>the</strong>r at <strong>the</strong>Blue Note in <strong>New</strong> York City in November 1998,billed as The Very Tall Band, and What’s Up?(Telarc – 83663) is <strong>the</strong> second release featuringperformances from <strong>the</strong>ir three-night stand, <strong>the</strong>previous one being The Very Tall Band (Telarc –83443). The seven selections, “Squatty Roo,” “SaltPeanuts,” “Ad Lib Blues,” “If I Should Lose You,”“Limehouse Blues,” “Soft Winds 6” and “The More ISee You,” take up just under an hour, and you willfind it an hour well spent. Peterson and Jacksonshare most of <strong>the</strong> spotlight, while Brown anddrummer Karriem Riggins, lay down a rock solidfoundation. Jackson is buoyant, Peterson is fluid,and Brown is a bassist with few true peers. Theymake wonderful music toge<strong>the</strong>r, <strong>the</strong>kind that is almost impossible toresist. (www.telarc.com)■ DAN ST. MARSEILLE has beenbest known for his tenor sax work on<strong>the</strong> Los Angeles area jazz and studioscene. On his new album, Swingingwith <strong>the</strong> Saint (Resurgent Music– 136), he sticks to <strong>the</strong> instrumenton which he received his earliesttraining, <strong>the</strong> clarinet. With <strong>the</strong> backingof Chris Dawson on piano, ChrisColangelo on bass and Thomas Whiteon drums, St. Marseille proves to be a superb playeron this instrument. He covers many stylistic basesfrom swing, “There Will Never be Ano<strong>the</strong>r You,” tobossa nova, “So Danco Samba,” to trad “Just aCloser Walk with Thee,” to Ron Stout’s “Because It’sThere,” a tune with a distinct Lennie Tristanoinfluence. I know that I will be Swinging with <strong>the</strong>Saint quite often. (www.danstmarseille.com)Wesla Whitfield■ Vocalist/singer JUSTIN HAYFORD set a highstandard for himself with his first two albums, andyet he has reached a new peak with It AllBelongs to You (LML Music –215), a collectionof unsung Cole Porter songs. Hayford has foundtwelve Porter gems and given <strong>the</strong>m a bright newlife. Of <strong>the</strong> dozen selections, only three are likely tohave any familiarity to most listeners, “DreamDancing,” “At Long Last Love” and “Easy to Love,”but <strong>the</strong> lyrics on <strong>the</strong> latter two are not <strong>the</strong> ones youusually hear. Hayford’s pleasant baritone is perfectfor <strong>the</strong> Porter oeuvre, and he has an innate swingfeeling to his work. His self-accompaniment on <strong>the</strong>piano is smooth and well conceived. The bass ofJim Cox and drums of Phil Gratteau wonderfullycomplement Hayford’s artistry. Porter had a knackfor creating titles that make you want to hear hissongs. Knowing of his clever way with words, youare anxious to hear songs with titles like “WhyDon’t We Try Staying Home” and “It Must Be Fun toBe You,” and Porter rarely disappoints. The titletrack has an added bonus with a lovely performanceon oboe by Jennet Ingle. This is an albumthat is both sophisticated and accessible. There arefew songs written today that capture <strong>the</strong> king ofmagic that Porter possessed, and <strong>the</strong>re are fewalbums being released that are as appealing as It AllBelongs to You. (www.LMLmusic.com)■ If you’ve ever heard her sing, you will recognize<strong>the</strong> voice of WESLA WHITFIELD within a fewnotes. Once you do, you will certainly want to hearmore of those notes. Livin’ on Love (HighNote –7152) is her latest album, and like those that camealong before, it is a compilation of excellent songsthat receive loving care from Whitfield and hermusicians. She is a singer who knows how to get to<strong>the</strong> heart of a lyric every time out.Her spouse, Mike Greensill is expertat setting <strong>the</strong> tunes and ga<strong>the</strong>ring<strong>the</strong> right musicians to execute hisimaginative charts. For this disc, <strong>the</strong>players are Greensill on piano, GaryFoster on reeds, John Witala on bassand Vince Lateano on drums. Oneight tracks a French horn quartet ispresent. The program is anoutstanding blend of standards andless frequently heard songs, andincludes “Love Is Here to Stay,” “PureImagination,” “For All We Know,” “The Gentleman Isa Dope,” “Do I Hear a Waltz” and ”Whistling Away<strong>the</strong> Dark.” Whitfield is truly a treasure of a singer,and you will strike it rich musically by obtainingLivin’ on Love. (www.jazzdepot.com)■ How About Me (HighNote – 7151) is anengaging outing from veteran jazz singer ERNIEANDREWS. The 11-song program by Andrews findscontinued on page 4240April 2007 <strong>Jersey</strong><strong>Jazz</strong>
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