The Chris Walden Big Band: Home of my Heart (2005)

A young big band conductor. A rarity to be sure, but not necessarily an oxymoron. Chris Walden proves that in this album, a surprisingly versatile primer of the big band. Walden can use traditional techniques, with a soloist over the top of a soft backing of horns, as you'll hear in the Christopher Cross-penned "Rainy Day in Vancouver," as well as his own Film Noir series. He can invoke the spirit of Tadd Dameron's bop big bands, which you'll get glimpses of in "Cherokee." He can cover old Jimmy Van Heusen classics and film scores with ease, adapt the intricacy of four to a large ensemble, and even force the old Star Wars pieces to fit into a classic-'60s big band sound. The playing on the part of the band is spotless and finessed. They can slink and smash equally well, and support and solo in turn. There's a quiet big band renaissance movement afoot, and Walden, while not necessarily standing at the forefront to force it upon the listener, very ably shows off what a big band can do, and how well it can be done. ~ Adam Greenberg

Adapters: Jeremy Lubbock; Alan Broadbent.

Personnel: Chris Walden (drum programming); Chris Walden (flugelhorn, programming); Christopher Cross (guitar); Rob Lockart, Rob Lockhart, Rick Keller, Tom Petersen (saxophone); Kevin Richardson, Kyle Palmer (trumpet); Jacques Voyemant (trombone); Dave Carpenter (double bass); Tony Pia (drums); Tierney Sutton (vocals); Mitch Holder (guitar); Frank Marocco (accordion); Pete Christlieb, Jeff Driskill, Brian Scanlon, Bob Sheppard, Brandon Fields (saxophone); Wayne Bergeron, Ron King, Roger Ingram, Bobby Shew, Carl Saunders (trumpet); Alexander Iles, Arturo Velasco, Richard Bullock, Bruce Otto, Bryant Byers, Bob McChesney (trombone); Alan Steinberger (piano); Peter Erskine (drums); M.B. Gordy III (percussion).

Tracklist:

01. Cherokee

02. Rainy Day In Vancouver
03. Film Noir - Part I
04. Film Noir - Part II
05. Film Noir - Part III
06. Mulholland Falls
07. Here's Looking At You
08. Star Wars
09. Home Of My Heart
10. Feet First
11. Here's That Rainy Day
12. How Long Has This Been Going On
13. Nonino
14. You Took Advantage Of Me
15. Stolen Moments
16. Dr. Stefan Frank
Home of My Heart

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Alphonse Mouzon: The Survivor (1992)

First class recording, featuring a diverse and interesting line-up of jazz guest stars. Notables such as Lee Ritenour on guitar, Brandon Fields on alto sax, Russ Freeman on acoustic guitar, and many others work together to help Mouzon create a wonderful, joyous celebration of life through jazz. Extremely well recorded, the sound just pops out of the speakers and fills the house.

Tracklist:

01. Games People Play

02. Feeling Good
03. Two Lonely Hearts
04. All That Jazz
05. After the Rain
06. Survivor, The
07. It's Not over Yet
08. Soft and Gentle
09. Anticipation
10. In Hot Pursuit
11. Bedtime Stories

Personnel: Alphonse Mouzon (piano, synthesizer, drums, percussion); Phillip Ingram (vocals); Russ Freeman , Lee Ritenour (guitar, acoustic guitar); Gary Meek (soprano saxophone, alto saxophone); George Howard (soprano saxophone); Brandon Fields (alto saxophone); Ernie Watts, Kirk Whalum, Richard Elliot (tenor saxophone); Welton Gite (electric bass); Lynn Fiddmont, Sandra Simmons, Lynne Fiddmont, Portia Griffin (background vocals).

The Survivor

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Dave Weckl Band: Transition (2000)

Dave Weckl's third release for the Stretch Records label reflects a new direction; seven newly penned compositions, new techniques, and new personnel. Aptly titled as Transition, the drummer benefits tremendously from his longstanding musical relationships with saxophonist Brandon Fields, bassist Tom Kennedy, and, the newest member of the band, keyboardist Steve Weingart. In addition to the four-piece lineup, Weckl jams with new percussive techniques; the incorporation of bongos, a tombek, wind chimes, and metal percussion into his drum setup. Just as the chart maker Synergy showcased the leader's ability to groove as well as to cut loose, Transition provides generous doses of high-energy drumming that characterized Weckl's days in Chick Corea's Elektric Band and the Akoustic Band, with the two approaches revealing a marked convergence. "Mild Hysteria" has a bluesy melody that changes gears harmonically for the solo sections and features the artist drumming in a fast double-time while the rest of the band is almost in half-time. Brandon Fields' "Group Therapy" features the saxophonist's swinging groove and great blowing. "Passion" is an emotional number that features the Steve Weingart great keyboards in tandem with Weckl's delicate, percussive ambience. Fields' beautiful sax is resonant and alluring on his solo and deepens the impact on the listener. "Crossing Paths" is another great song with a catchy melody that is marked by the consistent bass playing of Tom Kennedy. Together, the Dave Weckl Band is an ensemble that has blurred the line between soloist and accompanist and creates layers of sound that flow between several distinct moods.

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Transition (RS) @ 320K

Dave Weckl Band: Synergy (1999)

After being dismissed by some as a mere "chops meister," former Chick Corea Elektric Band drummer Dave Weckl purposely sought to reinvent himself as a groove player on his previous solo outing, Rhythm of the Soul, which also marked the debut of his own band. While the group toured, soundcheck jams evolved into tunes, and the resulting music on Synergy provides the most balanced document yet of weckl's drumming and his strongest musical statement.

Tracks such as "Panda's Dream," which features some of the fattest backbeats Weckl has ever played, and the New Orleans-inspired "Swamp Thing" are strong on pure groove. But tunes such as the African-influenced "High Life," the salsa/funk-informed "Synergy," and the solo drum/percussion tour de force "Cultural Concurrence" bear all the syncopated complexity of Weckl's original fame. He also displays a subdued, sensitive side with brushes and coloristic cymbals on the ballads "A Simple Prayer" and "Where's My Paradise?" A particularly definitive track is "Tower '99," a rewrite of "Tower of Inspiration" from Weckl's first solo album, Master Plan. It has all the technical mastery of the original but a deeper groove and a lot of soul.

On Weckl's four previous solo albums, he and Jay Oliver keyboardist composed just about everything. But on Synergy, the songwriting credits are shared among Weckl, Oliver, guitarist Buzz Feiten (a major asset to this band), saxophonist Brandon Fields, and bassist Tom Kennedy. The result is Weckl's broadest level of self-expression.--- Rick Mattingly, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.

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Synergy (RS) / Synergy (HF) / Synergy (MU) @ 320K

Gumbi Ortiz: Miami (2006)

The hot chick on the album cover with the blond hair holding a cigar really has nothing to do with the feisty, multifaceted jazz whirlwind created by veteran percussionist Gumbi Ortiz, but along with the neon flamingo, it beautifully represents the ultra-hipness of this shimmering, joyfully eclectic collection. Have congas, will travel — that pretty much defines funky and frenetic world of Ortiz, who brings his rich Puerto Rican/Cuban heritage and a lifetime of eclectic musical influences and experiences — from jazz fusion, pop and funk to retro-soul, samba and even a hint of Irish jig — to Miami. Renowned throughout the world for his nonstop tours over the past 19 years with fusion guitar legend Al DiMeola, the charismatic conguero gathered a powerful ensemble of jazz greats in fashioning a multicultural tribute to the New York native's adopted home state of Florida, where he has lived since 1980. The first two tracks perfectly capture Ortiz's multiple music sensibilities. The sizzling "South Beach" begins with a lighthearted Brandon Fields flute solo and a laid-back Latin groove before evolving into a wacky, way out jazz free for all (highlighted by Walt Fowler's brash flugelhorn solo). The Jeff Lorber-produced, smooth jazz friendly "T-Back" captures Ortiz's spirited pop side. That smooth side comes out again on "In the Groove" (featuring Jay Beckenstein) but in the middle are some serious fusion excursions that will please everyone who loves "real jazz" and can't stand the pop stuff. There are also a few irresistibly seductive nods to what Ortiz calls "the Herbie Hancock funk thing," some tasty samba excursions, a touch of retro-soul and even a taste of gospel. Whether he's going wild and banging his congas on free-form jazz jams, showing his mastery of more subtle rhythmic nuances, or simply supporting the rhythm section behind more straightforward melodies, Ortiz proves to be an incredible lead performer in his own right. Highly recommended!