[JPL] bopndicks 10 picks November 2007

[Dick Crockett]

Bopndicks 10 picks November 2007
NIGEL KENNEDY  BLUE NOTE SESSIONS   Blue Note
Classical violinist Nigel Kennedy made a  break to
jazz with new cd, or so we jazz fans would like to 
think. He's more practical than that. Nigel Kennedy is
highly regarded as a world class violinist, even in
his Mohawk haircut. Doesn't matter as long as you can
haul the rope, so to speak and Nigel Kennedy brings in
the boat in every time. Classical, Jazz, Rock,
Peasant, Folk, whatever.  The man brings the boat in
every time.
This new Blue Note Sessions is pure jazz reflective
and swings like an absorbing jam session, and we
applaud his versatility.  The jewel box reminds you of
vintage Blue Note cover art. The music inside
remembers the old as the new story. Nigel Kennedy just
vibrates his electric violin on Ivory Joe Hunter's, “I
Almost Lost My Mind.”
Born in Brighton, England and studied at Yehudi
Menuhin School, then Juilliard in New York, Nigel
Kennedy is well educated and known world wide as a
great Classical violinist, the kind you bring in for
guest solos on special symphonic occasions.
Nigel Kennedy is bones sharp a world class violinist,
no doubt.  However...he's given to Jimi Hendrix and
jazz explorations, the art of letting go.
This cd is Nigel Kennedy doing what 'bend it like
Beckham' can do, to score with that curvy jazzy
phrasing that may seem shocking to some sophisticated
classical music aficionados.  This new Blue Note
Sessions will break through preconceived ideas, for
old and new Nigel Kennedy fans. “Sunshine Boy” will 
bring memories of Stephane Grappelli who Kennedy
jammed with at  Carnegie Hall while  at Juilliard.
Then Kennedy plays  a nice catchy electric blues
refrain by Ron Carter, “Nearly.” It's how Blue Note
made their reputation in fifties as a premier hard bop
label.
Nigel Kennedy treats this as a jazz cd,  giving lots
of space to others here, Kenny Warner on piano
especially “Song For My Father,” Joe Lovano, Ron
Carter, Jack De Johnette, Lucky Peterson on Hammond
B-3 on Kenny Burrell's  “Midnight Blue,” Jo Allen and
Raul Midon on vocal and guitar on “Song For My
Father.”
Kennedy and clan treat Ivory Joe Hunter's “ Almost
Lost My Mind” as a straight ahead blues. And that's
more like it! “A Song For Forgiveness” by Jack
DeJohnette is more inviting to a Kennedy violin
progression.
No doubt,  Nigel Kennedy is a great classical
violinist, “Blue Sessions” will now proclaim him as a
world class jazz violinist.
VICTOR GOINES    LOVE DANCE   Criss Cross Jazz
LOVE DANCE is so good and technically sound with a
distinctive euphoric sense. Victor Goines, Peter
Martin, Reuben Rogers and Greg Hutcherson combine to
create this most enjoyable mainstream progressive jazz
cd. What's the secret! It's a moment's creation. How
do you bake a superb upside down cake? Could it be
that moment when the baker, the ingredients and the
method come together.  “Sunrise,” written by Victor
Goines and one of the most progressive selections,
free flowing and  demonstrating his  articulation on
tenor saxophone. Goines is a well disciplined player
on tenor, soprano and clarinet.  Peter Martin blows
some nice straight blues chords here as well and with
strong support by Reuben Rogers on bass and Greg
Hutcherson. What is it with hard bop and blues that
captivate us so...It could be a repor, succubus of
sounds that move mental mountains, his and her music.
Goines clarinet on Parker's “Confirmation,” is joyous
and idyllically correct. “Midnight” is another mood
matter with Goines on tenor, a midnight after dinner
aperitif, a sultry slow dance, that precious moment
that defies conversation. “Out The Box” is another
straight ahead Goines on tenor.   Victor Goines is
simply a great reed player and has the back up to
prove it on this cd.   Victor Goines is one of those
well schooled New Orleans jazz players as well as the
others on this cd who have a connection to the
Crescent City.  The title tune “Love Dance” and Goines
clarinet work will absolutely throw you, send chills
right to the marrow of your bones.
LESLIE PINTCHIK      QUARTETS    Ambient Records
Pianist Leslie Pintchik is remarkable at capturing
your attention with her minimalist style and
accommodating reflections.   She resembles George
Shearing in her approach in highlighting the rest of
the band. This is especially evident in “Happy Days
Are Here Again” and a peppy reharmonization Latin
version of “Too Close For Comfort.”  This is the way
George would do it. Her 'lets dynamics of the song'
evolve, as if she's along for the ride. It's more a Ms
Pintchik centering, offering very subtle suggestions,
a sophistication that she demurs, politely accepts.
It's relevant to her conception.  There are five
delightful originals, “A Simpler Time” with a nice
bass line from Scott Hardy, “Not So Fast” with
saxophonist Steve Wilson and  “Over Easy” with Ms
Pintchik offering Monk phrasings.“Private Moment”and
“Small Pleasures” with Wilson on soprano sax as
another dimension. Scott Hardy's “Fugu”  adds more
focus to Pintchik's expanding repertory.  Her
interpretation is expansive, she and Hardy play it
like a Bossa Nova for those who have connections . 
“Get the cleaner in there and straighten this out! An
immortal mantra, no body has quite figured out.
Leslie Pintchik, an articulate jazz pianist has it
figured out.  It takes someone who figures out the
articulation, to move toward the new, expansive and
completely original.
All you need to do is listen.
CHRIS WALDEN BIG BAND & ST. JOHN'S CHOIR   KURT MARTI
SUITE
Origin Records
How can an orchestration based on the verse of Kurt
Marti can be so majestic and powerful, especially when
the lyrics are sung in German by the St Johns Choir,
Hamburg?  For someone who doesn't  understand the
language, there's something  more universal here with
voice and orchestration with Chris Walden and his
arrangements. Walden draws upon his resources and a
big band arranger, writer and leader to create this,
the musical voice of Kurt Marti.  Marti was a priest,
born in 1921 known in Europe as a poet, linking 
concrete poetry to political statements, incorporating
Swiss dialect poetry into the universal language of
poetry, freeing religiosity from convention to more
romanticism of a high original beauty. It's quite a
profound statement and from Chris Walden's immense
faculty as a band leader and writer in Hollywood, this
rather obscure piece has become reality. It therefore
should be understood and acclaimed.  This is the kind
of music that a prominent band leader would and could
record.  We have a more expanded scope of Chris Walden
as a leader and innovator.
The Kurt Marti suite has twelve movements with the St
Johns Choir appearing in various limited engagements
with the band in Southern California. 
BUD SHANK & BILL MAYS     BEYOND THE RED DOOR   Jazzed
Media 
This is a story of two very articulate jazz musicians,
Bud Shank, alto saxophone and Bill Mays, piano.   Both
are esteemed in classical as well as jazz musical
conception.   Both are ready to chase the breeze,
ready for the challenge, the comfort of improvisation.
“Red Door,”a Zoot Sims/ Gerry Mulligan tune as Shank &
Mays replicate the spirit of  West Coast cool.   “The
Wind /The Peacocks”is a prominent example where they
dove tail two songs against each other. “Why Not Now”
composed by Linda & Bud Shank featuring blue flurries
by Bill Mays and Bud Shank's articulation, a
combination of stride against a blues Bud Shank
introspection. This is a case where a great melody
transcends the words.   “Quietly” is a Bill Mays
articulation, a retrospect of the love,centering
around all us.  Yes, it's spiritual if you wish.  “The
 Touch Of Your Lips”  is a romantic jazz reflection,
that more than a slow sensuous moment, it's degrees of
elevating magnetism. Then there's a classic, “I Loves
You Porgy,” If you want to hear the hook in the first
twelve, then forget it, it's not that kind of cd. For
this is the kind, where the marvelous are impervious
to the explainable...Intimate moody, sentimental
moments and soft up tempo swings portrayed by two
prominent jazz voices,  enough memories for both
lifetimes.
SEAN JONES    KALEIDOSCOPE       Mack Ave. Records
This cd is one of those rare feeling things. It's
November in whereabouts the western world. You've just
had an intimate dinner, the two of you, and you're
waiting for your car to come around. You're both
standing there. There's a chill in the air and you
move close to each other, for warmth and comfort.
That's what the new  Sean Jones,“Kaleidoscope” is
about...comfortable close love. If you're cosmopolitan
then you'll know. If you're bright and susceptible to
romance and a friend recommends this cd then
immediately go out and buy this. For what they tell
you on TV is not true and will not enhance your love
life.  “Kaleidoscope” is less expensive and will not
chemically endanger your long term health.
Sean Jones is one the best new mainstream jazz trumpet
players in today's international jazz scene.
“Kaleidoscope” is a series of new songs written by
current new young artists, Kendick Scott, Orrin Evans,
J.D Walter and Walter Smith III.
“Allison” starts a mantra of love. And you'll know
immediately what we're talking about when you hear it.
Then Kendrick Scott's “Journey” with lite cerebral
phrasing from Gretchen Parlato. “Never Let Me Go” with
vocal by J.D. Walters, “I Come To Thee,” a soulful
spiritual written by Orrin Evans and sung by Kim
Burrell. “So Wonderful” is another original written
and sung by JD Walter. In many respects JD Walters
reminds me of Kenny Loggins and “What A Fool
Believes.” “Esperanto” tells the story of thoughts,
spiritual romantic ideas. The voice, thought,
spirituality of the moment, or is love so fleeting so
bright for the moment or is it an everlasting emotion.
There is much emotion to ponder epithets. “It's Just A
Matter Of Time” is a duet with singers, Gretchen
Parlato and Sachal Vasandani and Sean Jones trumpet,
Brian Hogans, flute and Orrin Evans, piano. The rest
“Say Brah,” “Blak Music” and  “Kaleidoscope,” post
modern aesthetics easily consumed this time, for this
is a beautiful modern memory.  
Sean Jones and many favorites on this cd  created as
such.
ANTONIO SANCHEZ        MIGRATION      Cam Jazz
This is the essential Antonio Sanchez album The debut
cd. The first, one of many to come.   “Migration” is
all about time, frame, expertise and style. This feels
similar to Tony Williams and his influence on the
Miles Davis sixties post modern. Sanchez possesses 
that kind of influence and instinctive here with the
proper command and performance as he drives this
composite  group of prominent musicians, Chick Corea,
Pat Metheny, Chris Potter, David Sanchez and   Scott
Colley, bass.
Antonio Sanchez was born in Mexico, the grandson of
Ignacio Lopez Tarso, film star, studied classical
piano and composition at the National Conservatory of
Music, Berklee and New England Conservatory of Music. 
He showed prominence and  talent early as a drummer
and toured with Pat Metheny, Michael Brecker and Chick
Corea.  That's where he really his bones as a player.
Sanchez known for his Latin skills as a percussionist
has transcended, as many young Latin musicians, to a
more open modern progression. It's evident in this
Antonio Sanchez debut as a leader in “Ballade” and yet
underlying in “Greedy Silence.” Did you catch those
great open jam riffs between Chis Potter and David
Sanchez saxophones in “Did You Get It?” Oh yeah, is it
ever, with Scott Colley's frenetic tempo on bass and
Antonio Sanchez signifying, calling them out,  on
drums. A modern Latin “Challenge Within” is another
call for  Chris Potter and David Sanchez. 
Antonio Sanchez post bop Latin percussion leaves it
all up to the imagination, amazing, when you think
he'll revert into standard Latin percussion mode, but
not quite. It's very much of his invention. There's
more to it. He's a prominent inventory of thoughts,
language, musings and  contrapuntal mis-steps, that's
all good. This is the first Antonio Sanchez cd one of
many to come. Since Sanchez is a part of an ever
expanding new wave of new jazz thinking, you may
reflect  back and say, this is a new precursor of the
new music.  
As your Universe expands so goes the new music.
HERBIE HANCOCK     RIVER   THE JONI LETTERS   	Verve
Music
Due to the volume one tends to get cynical and as a
top 40 programmer would do, listen for 20 seconds and
if the hook isn't there, then forget about it. Well
this new Herbie Hancock is much more than just  a 20
second hook. This is the music of our great modern
poet and song writer/singer, Joni Mitchell. 
This is the first of many to come to honor this
special artist.  
Right off, special acclaim goes to Larry Klein and
Herbie Hancock for assembling Joni Mitchell's very
personal  music. She is the Emily Dickenson of our
time. Listen to her  lyrics rising above of, how
obsessive our love can become, especially when a woman
can let us know with an equal message.
Science fiction writer, Ray Bradbury said “Women are
born with a center. They can create the universe,
mother it, teach it, nurture it.”
Joni Mitchell portrays a  post modern image, a 20th
century Jane Austin singer.
Harbie Hancock and Wayne Shorter portray in special
circumstance in “Both Sides Now,” “Sweet
Bird,””Solitude”and  the very pronounced “Nefertiti”,
the light, articulate, lyrical tone poems.
“Tea Leaf Prophesy” threw me. Sung by Joni Mitchell
“The angst of so called perfection in light perfect
L.A. winter where blase' is the color of life that
goes on a basic blue everyday. Grab your vitamin D and
shop an off day at Wal Mart in the Valley where
nothing ever happens. It's a highlight of an
extracurricular affair between an air man and a
perfect stranger against an azure sky, when no one
knows but the parties... as she chymes to her best
friend: “He looks so cute in his uniform.”
Joni Mitchell's lyric are very personal. Now I know.
She reveals her life story, very simply through the
support of jazz excellent musicians, Herbie Hancock,
Wayne Shorter. Vocalists Nora Jones, Tina Turner,
Corrine Bailey Rae and Joni Michell herself on “Tea
Leaf Prophecy” supply the nuance on this very
revealing  compendium of words and thoughts of a true
suffragette.
Some forty years ago as a Wayne State student in
Detroit,  I recall Joni and Chuck Mitchell performing
in a campus bar on Woodward Ave.. 
I was a radio buff and Chuck Mitchell was one who was
interviewed on the local stations. Joni was
nondescript. 
She left the Mid West/ Saskatoon situation and went on
to perform numerous hit songs as a
guitarist/singer/song writer. Her history of words and
intermingling melodies never left her.
The new Herbie Hancock cd honors Joni Mitchell's
contributions with a variety of artists that represent
the music and writing of this open sensitive woman
never afraid to explore her own vulnerability. In many
ways the Emily Dickinson of our time.  
GRAZYNA AUGUSCIK GROUP    LIVE SOUNDS LIVE   CMA
Records
Chicago's own Grazyna Auguscik has assembled an
extraordinary ensemble for this live performance at
The Green Mill.  Guitarist John Mclean, Zach Brock,
violin, Jarek Bester, accordion, Matt Ulery, bass and
Jon Dietemyer on drums. These are Chicago's most
interesting progressive musicians and the material is
off shoot, a ceramics wheel of the long and
interesting, ethnically profound and post modern. The
cd opens with a Bach like fugue counter to John
Mcleans guitar and a Billy Holiday song of passion,
“Don't Explain.” 
Edith Piaf would've enjoyed Auguscik's modern version.
 Ms Auguscik's Polish roots are ascribed to in the
lullaby, “Matulu,” for Mother, which she sings in
Polish, then English and averts to other more
mysterious nostalgia within a electric consequence 
that's most engaging, metamorphosing in a maternal
sense. 
The most rudimentary comparison may be a jazz
reflective to Andy Worhol's Velvet Underground with
Nico and Lou Reed, a rudimentary comparison, but the
earthiness is apparent and important in Auguscik's
variation of “Matulu.”  
Buffy Saint Marie's “Until it's Time For You To Go”
with Bester's accordion nice contrapuntal intro to
Auguscik's lovely melancholy, then it loosens to freer
motion which is really her signature.  
Eugene McDaniels funky “River,” is all jazzed up with
Auguscik's forthcoming  vocalize, Mclean's pedaling a
wa-wa, Zack Brock's soaring electronic violin, then
Jarek Bester's accordion kicks in the final chorus for
this rousing conclusion. This is a refreshing artist
who goes her own way, not prodded by instant fame but
artistic integrity.
HOWARD WILEY    THE ANGOLA PROJECT     H.N.I.C. Music
Dedicated and moving forward, young saxophonist Howard
Wiley from Berkley Ca., whose close attention  a
studious interpretation to the roots of the music in
“The Angola Project.”  Angola's a prison in Louisiana
with an abusive history against African American
prisoners, in it's secretive history.
Think of the early 1900's and those unfortunate
convicted of a crime and housed in that place, the
unnoticeable never to be heard of again. Scant
records, scant photographs,  scant crimes stated in
their brief unknowable history to justify
incarcaration. A brief mention.  Flimsy justification.
Howard Wiley, aware of this, listening to Alan Lomax
recordings of that era decided on a musical
interpretive history of that period, that Angola
prison, where abuse occurred, where pain became a ring
side seat to the blues. “Twelve Gates to the City” is 
a New Orleans inspired blues with saxophonist Howard
Wiley and quintet   Therefore this music, this art,
this blues of the past gives a means to deal with the
pain. As in Greek tragedy, the blues experiences a
catharsis, mind, body, spirit. “Angola” features
Berkley High counterpart David Murray with a
remorseful voice and string accompaniment.   A wailing
ship in a stormy night.   Howard Wiley's potent
strength on saxophone is apparent on “The
Conversation” with Geechi Taylor's sullen trumpet
meanderings,  “Trouble with The World” is straight and
down Gospel with Faye Carol and Danny Armstrong's
boisterous trombone-  so makes soul, 'she makes you
wanna cry.'
Ornette Coleman's “Peace” is next. A similar quixotic
energy as the Tigers of “Almost Grace” come out to
play....Lorin Benedict closes with the traditional
lyric. Then “Second Line” closes with the spirit of
'movin on.'
ONES TO WATCH:
STACEY KENT    BREAKFAST ON THE TRAM  Blue Note
Stacey Kent is a Horatio Alger story. A young American
language student traveling to  Europe, studying at
Guildhall Music and Drama in London, a serendipitous
meeting with reedist Jim Tomlinson, eventual
collaboration and marriage, and a role in Ian
McKellen's  film version of “Richard III,” a
metamorphosis to a remarkable international jazz
vocalist. She resembles Jean Seberg, the American
actress with Jean Paul Belmondo in the French film
“Breathless,” with a voice as endearing and memorable
as Blossom Dearie. 
CIQUE   Capri Records.   This is the retro funk, way
back when Booker T got along with the funk brothers,
pasty home boys Medeski Martin & Wood commiserated
with Jimmy Smith and Richard 'Groove' Holmes, the
rockers, Keith Emerson when “The Nice” got along side
Steve Winwood  to party the wee hours to Brother Jack
McDuff and Joe Zawinul, a fragrance of the funky
ambrosia to the after hours clubs with a 'Candide'
soul of Jeff Jenkins, Hammond B-3, Rhodes, synth and
other things, Bijoux Barbosa, electric, acoustic bass
doin his thing like Jaco, and Mat Houston, the drummer
behind this band.
P.S. : If they so happen to show in your zip code, be
sure to check em out!
RUDDER 19/8 Records.   Multi reedist Chris Cheek,
keyboardist Henry Hey, Tim Lefebvre, electro and
acoustic bass and drummer Keith Carlock with a 'can
do' locked in on progressive funk. They're pro, facile
and ready to start a funk revolution, take it up to
where Hendrix abruptly left it off. Like a metamorphic
rock/sport/progressive/convergence, we've been all
waiting it to happen in harmonic. Rudder steers it in
the right direction.
BEN PATERSON TRIO   BREATHING SPACE  OA2 Records
A young trio from Chicago jams to the jazz classics.
Ben Paterson has that classic style with his own
style, imbued with Chicago jazz lore. Reflections of
Oscar Peterson as in “Whisper Not ,” Other ethers from
this group, musings of Junior Mance and Wynton Kelly. 
The rest of the trio John Deitemyer, drums and Jake
Vinsel, bass are proactive and fiesty on “Alice In
Wonderland.” Listen to this, then to the roots and
understand this is where the molten Chicago magma is
coming from.
If you have to get something your hipster middle class
soul this is the band to groove upon.  
I didn't realize he was so cool, she thought over an
aperitif as the Ben Paterson trio played on, late that
night at the club. 
“May I drive you home,” he politely asked? They just
met and her friend nodded her approval. Outside the
club in a cool June Chicago evening, they waited as
the attendant drove up in a white two seater sports
convertible. He held the door as she stepped down and
sat in her seat, her stiletto heels somewhat
cumbersome as her dress lifted slightly in the breeze.
He walked around opened the door sat down, shifted
into gear as it jumped forward with a competent roar
and down the street, turning on the radio. She asked
as her hair flapped to the continuous breeze, “What
kind of car is this?” “
“Triumph TR-3,” he said. And he turned to the All
Night Jazz Show. 
And the Ben Paterson trio was playing “Whisper Not.”
One to life's romantic post modern coincidences.
JACKIE RYAN   YOU AND THE NIGHT AND THE MUSIC   Open
Art Productions
This engaging West Coast lady vocalist has it all,
beauty, voice, range and interpretation.  Jackie Ryan
has the classic allure of Rita Hayworth and sounds a
'Julie London' scintillating with a Carmen McRea extra
special latte. And you'll swoon to Jackie Ryan's
flawless interpretation of “Besame Mucho.”  Her
phrasing on “Wild As The Wind” is impeccable.  She's
surrounded by the best in Red Holloway, tenor
saxophone, whose comforting is special,  music
director Tamir Handelman, piano, Jeff Hamilton. Drums,
Christopher Luty, bass, Carol Robbins, harp, Larry
Koonse, guitar.
This new cd is so overwhelming in it's capacity to
help, to heart, to heal. And if you're not an instant
fan of Jackie Ryan, than you're not listening.
Dick Crockett
“The Voice” 88.7fm
4623 T Street, Suite A
Sacramento, Ca.  95819-4743
audio streaming
accesssacramento.org




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