JAM Dec/JAN 2013 - Download now - Kansas City Jazz Ambassadors

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For tHe record 20 Grand Marquis The Sun Session Personnel: Bryan Redmond, lead vocals, saxophones; Chad Boydston, trumpet, backing vocals; Ryan Wurtz, guitar; Ben Ruth, bass, sousaphone, backing vocals; Lisa McKenzie, drums, washboard. Tracks: CD: The Jungle, Bad Dream Blues, Easy to Be the Devil, I’m a Wine Drinker, That’s My Desire, Mystery Train, When the Saints Go Marching In. 7” 45 rpm vinyl: The Jungle, Easy to Be the Devil. Recorded February 1, 2011, Sun Studio, Memphis. Engineer: Matt Ross-Spang, Mixing and Mastering: Duane Trower, Weights & Measures Sound Lab, Kansas City, Missouri. Let’s say you have the urge to go hear some Kansas City Jazz. The urge for the real stuff, that unmistakable mix of blues and swing and improvisation. Or maybe you are not familiar with what that really means. May I suggest Grand Marquis as a great band to hear? This is the sixth release from Grand Marquis, and was recorded at the truly legendary Sun Studio in Memphis (which had to be very cool). They really get into the history here; Junior Parker recorded “Mystery Train” there, and Joe Hill Louis, co-writer of “Tiger Man,” was a Sun session man. The agenda here is the blues the way they used to be done from KC to New Orleans and through Memphis, of course. “The Jungle” jumps. Lisa McKenzie’s drums are rock-solid here, and the simultaneous blowing by Bryan Redmond on tenor and Chad Boydston on trumpet is a highlight of these tracks. Boydston can really growl, too, as he does on “Bad Dream Blues,” and his use of the plunger in his solo on “Easy to Be the Devil” is another highlight. McKenzie is on washboard on this track. There are lots of roots here. The fast “I’m a Wine Drinker” has some great responses to Redmond’s vocal. Redmond’s vocals are featured throughout, and really fit the genre. And I don’t want to forget the Ryan Wurtz guitar and Ben Ruth’s killer sousaphone on “Bad Dream Blues,” either. JAM DECEMBER 2012 + JANUARY 2013 “That’s My Desire” is the ballad feature, and Grand Marquis is just the latest to record this 1931 classic. Prior recordings cross decades and musical styles; it has been recorded by Sammy Kaye, Frankie Laine, Martha Tilton, Hadda Brooks, Chris Connor, James Brown, Patsy Cline, Ella Fitzgerald, Woody Herman, and scores of other artists. This too-short (under 30 minutes) set closes as it should, with “Saints.” But the brevity is fine, as Grand Marquis covers a lot of their bases here, the sound of Sun is front and center, and there is even that great red vinyl 45 that is part of the set. You can grab this from their Web site, or surely from one of their regular gigs at Jazz or The Levee. —Roger Atkinson Michael Pagán Keyboard Christmas Personnel: Michael Pagán, piano Simply entitled Keyboard Christmas, Pagán gets an early jump on the holiday spirit with this latest release—a collection of solo piano arrangements dedicated to the season’s greetings. And a cheerful album it is. Pagán has tons of chops to spare for this hand-picked selection of Christmas classics. When I reviewed his last album, Twelve Preludes and Fugues, I viewed him from a composer perspective. This time he’s going for himself. The opening track, “God Rest Ye Gentlemen,” starts with a direct Miles Davis quote from “So What,” a real surprise—but, lo, and behold, it actually works quite well. The tune bounces right along with walking left hand bass lines, replete with effortless right had riffs that remind one instantly of Keith Jarrett’s prolific gifts. “Oh Come Emmanuel” is both elegant and delicate in its delivery, and is simply beautiful—what else is there to say?
“It Came Upon a Midnight Clear” offers the listener a real treat. Although it doesn’t happen on every piece, this tune reminds me of Bill Evans Conversations With Myself, where the guest accompanist is, well…himself. While “Midnight Clear” has rippling, cascading lines with stop time in left hand with rolling lines (ala Oscar Peterson), “Good King Wenceslas” is a pensive, introspective reading, with an unfolding rubato opening that slowly unfolds with an airy texture. After the initial statement, the piece segues into an almost Debussy-like adventure, only to give way to a Bach minor fugue of the main melody. Then there is the unmistakable “Oh Christmas Tree.” Upon hearing the opening phrase, of course, one cannot escape the inevitable comparison to the classic, swinging version of Vince Guaraldi’s swinging piano playing on his album, A Charlie Brown Christmas. Then, suddenly after the melody is stated, Pagán breaks into a jaunty ragtime, complete with a stride feel that takes you immediately out of the Vince realm. It has the kind of lilt that Harry Connick may have given it. The classic plink, plink, plink Basie ending is a refreshing touch. “Oh Come All Ye Faithful,” is a rolling triplet-feel, played in a fairly straightforward manner and is the shortest piece on the album—no frills. “Let It Snow” is a medium-tempo swing piece with a bit of stride touch, with shades of Errol Garner scattered throughout the tune. This is one of my favorites because it swings probably harder than anything on the album—you could hear how much fun he was having with this one—Pagán is in total control of the musical elements. A two-handed Oscar Peterson run gives way to a bit of frolicking gamesmanship on the keys (just to goose your ears a little) and the tune ends with a fantastic flourish. “I’ll Be Home for Christmas” is delivered in a medium-tempo waltz style, with a grand modulation after the initial melody is stated. Finally, the languishing rubato melody is offered, with two sparse sprinkles of chords to finish it off. “Coventry Carol” is almost improvised right out of the gate, the melody barely stated before Pagán breaks out with boppish lines. Later, the walking bass lines, along with hints of ragtime, appear sporadically underneath the solo. “Gesu Bambino,” the Italian carol written by Pietro Yon in 1917, has the borrowed melody and lyrics of the chorus taken from “Oh Come All Ye Faithful,” and is performed exquisitely here by Pagán. He thoroughly paces himself, taking the piece through several iterations until he is satisfied. “Carol of The Bells” is offered with the traditional chord progression, but the flavors burst forth when the jazz chord substitutions enter the fray. Combined with superior rhythmic manipulation, it packs a pretty potent punch. The solo is so inventive—so Beethovenish in character—it rather easily makes the piece another one of my favorite selections on the album. It is by far the most elaborate arrangement of the tunes, and, as one might expect, is the longest piece of the collection. Although I expected a raucous version of the closing track, the album ends calmly with a medium-slow version “Sleigh Ride,” with Pagán using a gentle touch at first, only to give way to a sixteenth-note run that perfectly propels the tune forward. After some delicious, bluesflavored passages (not to mention an irresistible quote of “Honeysuckle Rose,”) the song—and the album itself—comes to its conclusion, and the sleigh ride was definitely worth the trip. Ho-Ho-Hope you get your copy of this new holiday disc—it will serve as a great stocking stuffer. —Wayne Goins Brian Baggett Trio Brian Baggett Trio Personnel: Brian Baggett, guitars; Bill McKemy, bass; Josh Adams, drums Tracks: Stella by Starlight, The Days of Wine and Roses, God Bless the Child, Beautiful Love, Angel Eyes, I’m So Lonesome I Could Cry, Solar, You Go to My Head Recorded and mixed at Studio 17, Lawrence, Kansas, 2012. Guitarist Brian Baggett’s new CD is a compelling, innovative standards album. You may have also heard Baggett as the guitarist in Ken Lovern’s OJT or as the leader and guitarist of the fusion/ rock band DOJO. A talented, skilled guitarist with a foot in more than one city, Baggett performs regularly in KC, manages Supersonic Music in Lawrence, and teaches at Ottawa University. Reminiscent of the Jim Hall style on this album, Baggett’s playing is often sparse, but Baggett says a lot with each note; he chooses with wisdom, artistry, and grace. Baggett’s guitarist voice is clear, bright, and intelligent--and wisely, vibrantly understated. One of the most compelling tracks on this CD is Baggett’s group’s rendition of the standard “Solar,” executed with a funky fusion feel. Upbeat, contemporary, but still grounded in the roots of the original, Baggett’s version of “Solar” feels a little like Chick Corea’s Electrik Band meets Sonic Youth. Baggett’s playing is at first sparse and contemplative, but heats up and gets busy as the tune progresses--and everything about this track is forward moving, solar hot: from yellow flame to blue flame hot. DECEMBER 2012 + JANUARY 2013 JAM 21
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