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New Jazz and Blues News – 7/13/2021

New Jazz Releases:

Will Bernard – Ancient Grains (PosiTone): “Will Bernard offers up a hearty meal of tastes and styles from his own harvest of ”Ancient Grains” on his third release for Posi-Tone. With a modern jazz sensibility and elegantly lyrical compositional focus, the crux of this brilliantly evocative musical program remains focused upon the fingers and strings of the expressive guitarist himself. Meanwhile the masterful contributions of B-3 organist extraordinaire Sam Yahel and the explosive metrics of drummer Donald Edwards provide several melodic highlights in addition to the rhythmic support necessary to keep the session deeply in the pocket. Some of our fans may already be familiar with his earlier work, but we think now is definitely the time for a new generation to discover the bold guitar mastery of Will Bernard! To this end, we strongly believe a steady diet of “Ancient Grains,” with its balanced menu of straight ahead performances from the funky and soulful to the edgy and original, will surely leave jazz enthusiasts everywhere feeling better inside and excited for another serving!” (https://www.posi-tone.com/ancientg/ancientg.html) Click here to listen to samples of the songs on this release.

Bill Evans Trio – On A Friday Evening (Craft): “A newly-discovered live performance by Bill Evans Trio, featuring Eddie Gómez on bass and Eliot Zigmund on drums. The previously unreleased concert took place on June 20, 1975, at Oil Can Harry’s, Vancouver, BC. Captured for radio host Gary Barclay, it was aired on his popular CHQM jazz show. For nearly half a century, the tapes lay forgotten – until now. Thanks to audio restoration by Plangent Processes and meticulous mastering by Paul Blakemore, it sounds just as fresh today as it did in 1975. (https://craftrecordings.com/products/bill-evans-on-a-friday-evening-1956-1980-2-lp). I regret I am unable to find a sample of music from this release.

Sean Micheal Giddings –  Red Willow (Origin): “….Vince Guaraldi’s spirit—the accessible lyricism, the bright, memorable melodies, the sense of fun—seems to loom largest on Giddings debut piano trio outing…” (All About Jazz)  “Austin-based pianist, composer, singer and producer Sean Michael Giddings has had a wide-ranging career since moving through the University of North Texas 1:00 Lab Band a decade ago. Tours with pop icon Christopher Cross, country star Pat Green, or virtuoso guitarist Eric Johnson offer a deep musical well to draw from when expressing his own songwriting voice or with this, his debut piano trio album. His compositions and musical touch evoke major influences such as Vince Guaraldi, Bill Evans, Keith Jarrett and Brad Mehldau, while the central Texas setting of his home recording studio—with the Baldwin baby grand that’s been with him since childhood—add a patient, comfortable embrace to the session. With the calypso-esque “Sebastian,” or the ’70s Jarrett-influenced “First Cup,” Giddings’s longtime collaborators bassist Sam Pankey and drummer Daniel Dufour propel and support, while the moving ballad, “In the Light of the Unfinished Moon,” personifies the sound of deep musical connection.” (https://originarts.com/recordings/recording.php?TitleID=8282) Click here to listen to samples of two songs song on this disc.

Max Highstein – Tiptones (Desert Heart): “A multi-instrumentalist, Max Highstein brings forth much more than musical ideas; he imbues his music with a textualization of knowing. A deep acumen of complexity and joy is entwined in each note. His latest release, Tiptoes, might be a lighthearted listen, but it is in its melodies we find the genius. Highstein is joined on this album by guitarist Jeff Pevar (Ray Charles, CS&N, Little Feat). Cellist Ed Willett (Ricky Lee Jones, Honolulu Symphony). On flute, John Yoakum’s (Paul McCartney, Lady Gaga, LA Phil). Drummer Mark Clark (Ottmar Liebert, James Taylor) and fellow saxist Rusty Crutcher lends his alto and tenor saxophone on “Path Of The Heart.” The Highstein original “Tiptoes” opens the album. The ensemble creates an imagery that the title implies as the various instruments layer in against a steady percussion and drum anchor. Highstein’s choice in ensemble players is excellent, and his writing is sensible and personal to each color in the ensemble. The melody has a familiar flow and an instant charm that pulls you into the music’s many textures. The slinky melody is supported by running sub-motifs amid the many climaxes through the song’s form. The musicians create each section refresh and renew, held up by Clark’s dexterous drums and shifting cymbal swashes. “All Bounced Up” is a Highstein original with a happy shuffle feel that is a fine vehicle for his creative writing style. His music lives in a musical space between pop, jazz, and rock. His writing lets each perform let their artistic voice ring clear, and together they form a very cohesive unit. Highstein is all about striving for something unique and personal in a way that is indeed prescient and highly musical. In a world filled with serious thoughts and unsurety, Tiptoes softly walks into your psyche and lifts the weight of the world with its grooving melodies, jaunting explorations, and continental exquisiteness.” (https://thejazzword.com/2021/06/max-highstein-tiptoes-review/) Click here to listen to samples of the songs on this release.

Tim Kobza – Montecito Heights (Self-produced): “Tim Kobza is a Los Angeles-based guitarist, recording artist and music producer who divides his time between composing, producing, performing and teaching…. Tim’s musical expertise encompasses all genres of music, ranging from pop, jazz, rock and blues to R&B and electronic sound design. His projects are highly personalized and expressive, demonstrating his passion for creating music that is both timeless and contemporary. Tim has traveled the world performing and maintains an active performance schedule in the Los Angeles area. He has over 900 titles to his name as a composer, and over 250 TV and film credits.” (https://www.timkobza.com/about) Click here to listen to the songs on this release.

James Robert Murphy – Park North – The 2920 Sessions (Self-produced): “After a year in the making, isolated inside our 2920 rancho pequeño, my sophomore jazz CD Park North has been completed. I think you will enjoy these eight new rhythm patterns and memorable themes. I am honored to have pianist Ruben Gutierrez, bassist Curt Bushaw, saxophonist Frank Zona, Pat ‘Guitar Slim’ Chase, and pianist Billy Townes join me on a few songs. I am also honored to have vocalist Joshua Lucero from Juarez, Mexico perform on Wherever, Whenever.” …. To sum this project up, our guest saxophonist Frank Zona states,” Sometimes you have to jump into the deep end of the pool.” Jazz, according to some, is an educated genre of the musical spectrum; certainly not for everyone. Perhaps more suited for those with an elite edge. Those who seemingly exist above the fray. It is said that the complexity of jazz is difficult for many to understand. Only those who emanate ‘cool’ and ‘sophistication’ are truly able to grasp its full meaning, and are able to catch the purity of the rather obvious vibe. Of course, this can’t possibly be true. Otherwise, this project would not exist. But what is the key to jazz music? Is it a beautiful chord progression based on the indelible theme, or is it the abstract, dissonant chord progression that seems to lack any coherency at all? Does it swing or does it agitate? Is it simple? Or have the intricate pieces of the puzzle been so neatly arranged that your imagination ignores its difficulty, and in-turn, appreciates its subliminal beauty?In Jazz: The 2920 Sessions, we have committed all of the above crimes. We have placed the ingredients into a wooden bowl and commenced to do a little stirring. One cup of clarity, 1/2 cup syncopation, 1/2 cup rhythm, 1/4 cup of imagery, 1/4 cup complexity, 1/4 cup smooth butter, 1/8 cup of border spice, a dash of mantra, meditation, imperfection, and magic. Baked for 365 days at a barely measurable heat. Cooled for 30 days and sliced it into 10 pieces. Enjoy.” (https://jamesrobertmurphy.com/) Click here to listen to songs on this disc.

Charles Owens Trio – 10 Years (La Reserve): “For a decade, tenor saxophonist, composer, bandleader and educator Charles Owens has been leading a trio with bassist Andrew Randazzo and drummer Devonne Harris (aka DJ Harrison). The Charles Owens Trio has celebrated this tenure with a new release, 10 Years. Chris Pearson in the Times of London wrote in his review, “The first thing you notice about Charles Owens is the tone. The American tenor saxophonist is a player of irresistible warmth.” (Russell Perry, Jazz at 100 Today!) Click here to listen to samples of this release and a discussion with Charles Owens about this release.

Sam Ross – Live at the Mira Room (Self-produced): “Sam Ross is a jazz pianist, composer, and educator from Long Beach, California. Sam has opened for such artists as Marcus Miller and The Funky Knuckles. He has performed and/or recorded with/for Robert “Sput” Seawright (credits include Snarky Puppy, Ghost Note), Albert Alva (Louie Bellson, Rosemary Clooney), Paul Kreibich (Gene Harris, Ray Charles), and more. His composition “Portuguese Bend” was selected to be performed at the 2019 Jazz Education Network conference by the US Army’s Jazz Ambassadors as part of the Young Composer Showcase. His composition “TOPshite” received airplay on Southern California’s #1 jazz station, KJazz 88.1. Sam completed his undergraduate studies at the University of Michigan, graduating with a B.A. in Sociology and a B.F.A. in Jazz Studies in 4 years. He now lives in Lakewood, CA and performs jazz at restaurants, festivals, and so on, in addition to teaching piano of all styles and levels.” (https://samdylanross.com/bio) Click here to listen to music on this release.

Judy Wexler – Back To The Garden (Jewel City Jazz): “When you talk about contemporary jazz in the United States, you’ll probably be talking about New York City at some point. No matter where you’re from, you’re probably headed there to pay your dues and hopefully get some time on stage with the greats. It’s a music that rises from streets and moves through the alleys and inspires performers from all over the world. Judy Wexler, however, always reminds me of the Los Angeles jazz scene, which is very different from New York–especially on her new album Back to the Garden. I’ve heard these LA albums from time to time, from artists such as Tierney Sutton and Mark Winkler and maybe even Lyn Stanley in a less specific way, and they’re tinged with this LA sort of style that could be capriciously described as cinematic. I think “high production values” is a more accurate path toward a satisfying descriptor. In New York City, you find some people to play with, people you’ve never met before, and if there’s chemistry you ask them to come around the next time. In Los Angeles, someone has an idea and then phone calls are made and the best people are hired. Judy Wexler certainly hired the best people for her new album, Back to the Garden, where she “reimagines 1960s songs of love, hope and change.” If you’re grounded in something as creatively gritty as the NYC jazz scene, you might not be interested in this album. But Judy Wexler has come up with something a little deeper than a set list for a variety show with a Summer of Love theme. First, as you might recall, some of the pop songs of the ’60s were master classes in harmonic structure and melodies destined to be earworms. Back to the Garden features songs by Bob Dylan, Joni Mitchell, Paul Simon, Stephen Stills, Judy Collins, Carole King and Sandy Denny, which is reason enough to explore, but Wexler’s voice this time around is calm and wise and fortified by the passage of time. Her work here is some of her best, and she brings something quite different to each of these arrangements. Judy Wexler is the focus here, but let’s take a moment to acknowledge a star-studded band that includes pianist Jeff Colella, guitarist Larry Koonse, bassist Gabe Davis and drummer Steve Hass, with guest turns from Hendrik Meurkens, Sara Caswell and more. Yes, this is a big budget affair, and yet everyone plays with commitment and emotion–as if they were all there, standing next to Wexler and remembering what was and what’s coming around one more time.” (https://parttimeaudiophile.com/2021/07/06/back-to-the-garden-from-judy-wexler-the-vinyl-anachronist/) This is a terrific set of songs from the sixties. The lyrics are as strong as the way so many decades ago. It may set back older listeners who feel the joyful tones don’t express the depth of this set’s originals. Wexler’s singing is quite nice, but if this is the first time you’re hearing the update and a senior from the sixties brace yourself. Click here to listen to samples of the songs on this release.

New Blues Releases:

Steve Marriner – Hope Dies Last (Stony Plain): “One of Canada’s busiest artists, Steve Marriner has proven himself to be a versatile and highly skilled musician, songwriter and producer. In addition to winning nine Maple Blues Awards as a harmonica player and vocalist on his own, he has won another ten Maple Blues, two Canadian Indie Music, two JUNOs and one American Blues Music awards as one-third of swamp rockers MonkeyJunk. Steve has performed in studio and on stage with some of Canada’s top blues and rock artists such as Colin James, Sass Jordan and Matt Andersen…. Hope Dies Last was half cut at The Ganaraska Recording Company, Jimmy Bowskill’s studio (The Sheepdogs and Blue Rodeo), before the lockdown — but when lockdown happened, Steve had the time to think about what he was sitting on that hadn’t yet been released. The lead track “Take Me To The City” was recorded first three years ago in a session at Greg Keelor’s studio. “Somethin’ Somethin’” was also recorded two years ago, long before Covid lockdowns made mental health an international concern. Other singles “How High” and “Coal Mine” were written and recorded over the last year.” (https://stonyplainrecords.com/lp/hopedieslast/) Click here to listen to “How High” from this disc.

Malcolm Wells & The TwoTimers — Hollerin’ Out Loud! (Self-produced): “Malcolm was born in Little Rock, Arkansas, in the summer of 1966. He is very good at surrounding himself with talent.” (https://malcolmwellsandthetwotimers.com/bio) It also appears he would prefer to let his singing and playing speak for his talent! This is a certified Professor Bebop “Wax Devoid of Cracks!” Click on this link to listen to the songs on this disc and catch his groove!

Kopasetically,

Professor Bebop