Jeff “Tain” Watts Quintet: Detained at the Blue Note (2004)

Drummer Jeff "Tain" Watts leads his quintet plus guest altoist Kenny Garrett through extended versions of four of his originals (all of which he had recorded previously in the studio) plus Bjцrk's "107 Steps." While "107 Steps" and "JC Is the Man" (which is more Thelonious Monk than John Coltrane) are fine, it is not until Garrett makes his first appearance on "Mr. JJ" (which is more Coltrane than J.J. Johnson) that this set really explodes. Garrett's passion inspires Watts during their midsong duet and adds a great deal of energy during the three songs on which he appears, completely stealing the show. Watts takes a surprise vocal on "Like the Rose" and plays with intensity throughout the performance, but it is Kenny Garrett who makes the music something special; it is a pity that he is not on the first two numbers. ~ Scott Yanow

Tracklist
1. 107 Steps – Jeff “Tain” Watts, Bjork 13:47
2. JC Is the Man 10:56
3. Mr. JJ 11:54
4. Sigmund Groid 19:03
5. Like the Rose 15:10
Personel
Jeff “Tain” Watts – drums;
Kenny Garrett – alto saxophone;
Dave Kikoski – piano;
Eric Revis – bass;
David Gilmor – guitar;
Marcus Strickland – tenor saxophone
Detained at the Blue Note
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Cesare Picco: Light Line (2007)

Beatiful Jazz music with deeply poetic mood from talanted Italian piano player and composer Cesare Picco. With Latin and New Age influences, complex composition forms, and some computer programming, I'd call it "easy listening avant-garde".

Tracklist
01. L'Orologio (07:03)
02. Un Attimo (04:48)
03. Bluewave (07:19)
04. The River (05:27)
05. El Hombre Lobo (05:20)
06. Whisper (05:34)
07. Sambaista (Studio Live Session) (04:48)
08. Camelia (05:36)
09. Un Giorno Con Te (04:05)
10. Calma Apparente (03:14)
11. Il Tuo Respiro (05:08)
12. El Hombre Lobo (Piano Solo Version) (04:31)
Total time 01:02:53
Light Line
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Bobby Lyle: Hands On (2006)

Throughout his three decade career, pianist/keyboardist Bobby Lyle has developed an international reputation not only for his dazzling piano technique, but also for his versatility and ability to constantly reinvent himself, both as a leader, sideman and even as music director for superstars Al Jarreau and Anita Baker.

With "Hands On", Lyle adds another significant title to his already impressive discography.

"A contemporary celebration of love, life and rhythm" is how Bobby Lyle describes his Heads Up debut. "Within the twelve songs there are expressions of all of those things. I wanted the overall tone of the record to be funky and upbeat, but with romantic interludes".

"Hands On" - Lyle's 15 th album overall - is a unique blend of contemporary jazz classics and acoustic piano compositions that crosses the boundaries between straight-ahead and contemporary jazz. A brilliant showcase for this gifted songwriter/producer/arranger's unique talents, Hands On features an array of timeless tracks containing an entire world of emotion.

Rounding out the project are guitarists Todd Parsnow, John Calderon and Brennen Nase, bassists Martin Walters, Larry Kimpel, Keith Vivens and John Adams, saxophonists Wayne DeLano, Dave Caseras and Joe Vincelli, trumpeter Larry Spencer, trombonist Keith Adkins, drummer Keith Banks, percussionist Jorge Ginorio, and backing vocalists Dailyn Valdez, Melanie Covington and Derrick McCampbell.

Tracklist:

01. Passion Drive (4:34)

02. Best Of My Love (3:44)

03. Hands On (4:24)

04. Lost In Our Love (4:19)

05. Fancy Pants (4:25)

06. Poinciana (4:38)

07. Minute By Minute (3:48)

08. True Spirit (4:27)

09. El Paquito (4:14)

10. Take A Step (4:06)

11. Return Of The Genie (4:00)

12. Beth (3:49)

Personnel:

Bobby Lyle - Piano, Keyboards, Programming

Todd Parsnow - Guitar

Larry Spencer - Trumpet

Martin Walters - Bass Guitar

Joe Vincelli - Alto Saxophone

Hands on
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Ebinho Cardoso: Cerrado (2010)

Ebinho Cardoso has been gaining popularity on the Brazilian music scene thanks to his innovative way of playing the bass. Composer, arranger and researcher, he uses the electric bass' atypical elements, showing the possibilities of the bass as an instrument for rhythm section, solo projects and especially harmony. These characteristics all join in his live performances that combine precision and refinement. He connects the particularities of jazz music, classical music and popular Brazilian music. After years of researching the possibilities of the bass as an harmonic instrument, he launched a book "Harmony and Dictionary of Chords for Electric Bass", the first book specifically on training, composition and use of chords, published in Brazil, reviewed by Ian Guest and Sydney Duarte and foreworded by Arthur Maia.

Tracklist

01. Maitri
02. Vendaval
03. Paraiso Abissal
04. Minha Re
05. As horas
06. Coisas do Amor
07. Teia de renda
08. Do coracao
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Marcus Bonfanti: What Good Am I To You? (2010)

Marcus Bonfanti deserves to become the next British blues-guitar hero. He's from north London, the son of an Italian dad and a British mum who apparently owned an album collection that included the likes of Zeppelin and Tony Joe White, just two of the influences on this technically impressive and varied set.

Tracklist:
01. Will Not Play Your Game (4:46)
02. Goin' Down (3:52)
03. Messin' Round No More (3:08)
04. Devil Girl (4:36)
05. Don't Wanna Come Home (4:56)
06. Tweed Blazer (1:42)
07. Get Behind Me (5:51)
08. What Good Am I to You ? (5:41)
09. God Only Knows (1:34)
10. Give Me Your Cash (4:00)
11. Bleecker Street (4:13)
12. Sweet Louise (3:15)
What Good Am I to You (Dig)
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Ray Brown Trio with Ulf Wakenius: Summertime (1998)

Bassist's bassist Ray Brown is inspired and inspiring on Summertime, which finds him in the company of his trio and guest guitarist Ulf Wakenius. Whether it's the addition of Wakenius, new pianist Geoff Keezer, or just the felicitous combination of peerless players and dynamite material, this set easily eclipses Brown's preceding "Live at Sculler's." ~ Ross Boissoneau

Personnel:
Ray Brown (bass);
Geoff Keezer (piano);
Ulf Wakenius (guitar);
Gregory Hutchinson (drums)
Tracklist
1 West Coast Blues 4:41
2 Summertime 6:28
3 Topsy 5:21
4 Yours Is My Heart Alone 4:43
5 It's Only A Paper Moon 7:45
6 My One And Only 7:19
7 Reunion Blues 8:29
8 Watch What Happens 3:24
9 The More I See You 5:05
10 Honeysuckle Rose 7:38
11 Cakes' Blues 4:05
Summertime Ray Brown Trio with Ulf Wakenius
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Janek Gwizdala: Mistery to Me - Live in New York (2005)

Here is a debut album of some distinction that successfully brings together electric and acoustic instrumentation in a set of fascinating if slightly sombre contemporary jazz that provides a setting of rich tone colours for some distinguished solo performances. The controlling mind behind this project is one Janek Gwizdala, a young English musician living and working in New York and he has assembled some quite formidable talent, of whom Mark Turner is probably the most eminent in terms of his star status, to help him achieve his musical objectives. Next to Turner, visibility wise comes John Ellis, whom I’ve recently discovered by listening to Charlie Hunter and I wouldn’t argue against anyone who earmarked him as one of tomorrows frontrunners. The other members of this unusual band are by no means subordinated by these high profile names for the music operates very much as a collective enterprise with no one being particularly showcased and everyone getting an opportunity to demonstrate their talent. Composition credits aren’t given but I wouldn’t mind betting that they all stem from the pen of the leader because they have a sort of stylistic thread running through them. They range from moody arias like the atmospheric title track whose theme is movingly delineated by the triumvirate of Turner, Maret, and Miller and “Time Stands Still”, which utilises the wordless multi tracked singing of Gretchen Parlato, to more abstract but quite accessible post-bop statements that benefit enormously from the orchestrated combination of instrumental sounds and washes. Despite the presence of synthetic sound the music never descends to the level of smooth jazz, thanks to the strength of the solo contributions and Mayer’s masterful drumming which presses into service all available contemporary pulses and applies them with flexibility and intelligence. Apart from Gwizdala, whose playing is new to me, my new talent award must go to another Englishman, Elliot Mason, who is highly effective at the key boards tying everything together with chordal effects and space-age riffs but also doubling to great effect on bass trumpet and trombone playing in the post modern manner we associate with the likes of Ray Anderson. Definitely someone to be watching. Gwizdala himself seems to come out of the Pastorius stable and when he gets some space to solo (most extensively in the final piece) that influence is quite evident, however it is his contribution as a arranger and composer that impresses more than his playing, good as it is, and, without wishing to sound patronising, it augurs well for the future of jazz that music of such sophistication and originality is coming from one so young. The recording is excellent; it is said to be live but apart from one brief introductions episode, which occurs before the last track (I suspect a mix up in the track listings) the audience appear to have been air brushed out because you don’t hear a whisper from them. It doesn’t matter because this isn’t superficial good time music that needs the endorsement of whoops and hollers to help it find its pace and my enjoyment was in no way diminished by the absence of a live atmosphere.

Personnel: Janek Gwizdala (electric bass) Tim Miller (guitar) Jojo Mayer (drums) Gregoire Maret (harmonica) Gretchen Parlato (vocals) Elliot Mason (keys, bass trumpet & trombone) John Ellis (bass clarinet & soprano sax) Mark Turner (tenor sax)

Tracklist:
01. Mystery to Me
02. Why
03. Joshua
04. Darkness
05. Time Stands Still
06. P.K.
07. Circles
08. A.M.S.K.
09. B's Song
10. And Another Thing
Mystery to Me-Live in New York
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