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

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for the record continued
The vamps on this tune highlight the comping and soloing
skills of each group member, from drummer Josh Adam’s
funk-march riffs and fills in which he skillfully lands the
backbeat in innovative places to bassist McKemy’s soulful,
low, grooving ostinato lines to guitarist Baggett’s ‘70s
feel, echoing notes, which in the sparser spots sound like
hip, held, Morse code signals for a space landing. Like
much of the album, this tune grooves hard, is melodic
and filled with sensitive full-band interplay, but is understated,
played with the low steady flame of discipline and
measured, but vibrant, control. And, remarkably, this is a
memorable version of the tune that appears to chart and
stake some new territory. You won’t hear another band
play “Solar” quite like this.
Another of my favorite tracks from this album is
Baggett’s trio’s rendition of “Beautiful Love.” A more
traditional arrangement, this love song swings hard,
and features Baggett’s soloing skills, often reminiscent
of Hall, but at times of Metheny. Baggett’s sound is his
own, though, full of characteristic repetend, a meditative
approach, and just the right approach to space. Baggett’s
introductions are often filled with pregnant pauses that
lead to bright, crafty, compelling runs. And Baggett is not
often one to overplay, although he is not afraid at the arc
of the solo to get busy. Returning to the tune, the end of
“Beautiful Love” includes a tasty duet between Baggett
on low tones and Adams on toms. Each plays just enough,
as in a conversation between people who truly know each
other. This final interlude is one reason to play and replay
this track.
A mix of swung tunes and fusion/funk revisionings,
Brian Baggett Trio is an album for the jazz aficionado, the
seasoned player, or the listener new to the scene, but interested
in new views, new interpretations. A clean, vibrant,
polished album--but one with lift--this CD can be set to
play on repeat and should not disappoint. Its nuances-some
classical (golden age jazz), some contemporary--are
worth listening to, and returning to.
Copies of the CD can be purchased at Baggett’s
website: brianbaggett.net
—Kevin Rabas
V INYL RENAISSANCE & AUDIO
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JAM DECEMBER 2012 + JANUARY 2013
Tom DeMasters
Better to Be Lucky
Personnel: Tom DeMasters, guitar and vocals; Jerry Hahn, guitar
(tracks 4,7,9); Rick Huyett (1,4-8) and Joe Pruessner (2,3,10),
bass; Mike Moreland, organ and synth (1,8); Tim Whitmer,
piano (5,6); Wayne Hawkins, piano and organ (4,10); Bob
Jolley (2,3,10), Ray DeMarchi (5,6), Allen Fishell (4,7), and Andy
Hambleton (1,8), drums; Millie Edwards (2,3) and Lori Tucker
(1,8), vocals.
Tracks: Better to Be Lucky, Going Out of My Head, Boy’s of
the Seventies, Swimming Hole, Sarita, Sonny’s the Man, Just
Because, Christmas-Procrastination Blues, You Don’t Know Me,
New Years Day.
Recorded and Mixed at Hammerhead Audio, Kansas City,
Missouri, by Mike Moreland. Engineered by Mike Moreland.
Mixed by Mike Moreland and Tom DeMasters. Mastering by
Themasteringstudio.com.
Guitarist and vocalist
Tom DeMasters has been on
the KC scene for nearly 30
years now, and has seemingly
played with everyone. On this
recording he has invited many
of his musical friends, including
his teacher at Wichita
State, Jerry Hahn, for a set of
mainly original tunes.
As Tom came up musically in the 1960s and 1970s,
there are a variety of influences that are on display here,
from pop to rock and the blues and straight-ahead jazz.
“Better to Be Lucky” and “Boy’s of the Seventies” represent
the rock side of DeMasters. The former is from a lesson
from his dad. Lori Tucker has a background vocal here,
and there is a DeMasters guitar blast that comes out of
nowhere, a surprise in a nice track. The latter features
Millie Edwards, has a great groove, and that “Smoke on
the Water” lick at the end shows where this was from.
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