Holiday Jazz 2021: The lockdown edition

[Web master's note: Northern California film critic Derrick Bang —  the eldest, youngest and only son of this site's primary jazz guru, Ric Bang — has surveyed the holiday jazz scene for a quarter century (!), with lengthy columns that just keep growing. Check out previous columns by clicking on the CHRISTMAS label below.]

The pickings are slim this year, no doubt prompted by Covid fears, the lack of open performance venues with patrons willing to attend in sufficient numbers, the closure of studios unable to sufficiently staff the recording and engineering, and probably even supply-chain issues that have stalled all manner of retail goods … including, yes, recorded music.

 

Small combos still could have recorded material in isolation, of course, and then issued the results via social media. But it’s tough (impossible?) for most artists to generate a revenue stream that way, and musicians are like everybody else: They need to eat.

 

I hope the brevity of the following list is merely a temporary aberration. I’d hate to think holiday jazz was falling out of favor!

 

Onward, then…

 

********

 

A few releases always arrive late each year, sometimes into January, and therefore get saved until the following season. Let’s start with a few of those, and they’re corkers.

 

British pianist Gabriel Latchin has become quite a fixture across the pond, appearing regularly at premier London jazz venues such as Ronnie Scott’s, Pizza Express Jazz Club and the 606. He gets excellent support on I’ll Be Home for Christmas — his third album — from Dario Di Lecce (double bass) and Josh Morrison (drums). 

Latchin’s touch is both dynamic and tasty; his lengthy improvisational bridges are melodic, lyrical and fun. I suspect he spends a lot of time smiling, during live performances; his keyboard work positively sparkles. The set list is dominated by 1930s and ’40s titles from Great American Songbook composers, but Latchin’s arrangements have a clever twist: They’re interpreted through the eyes (and fingers) of his musical idols.

 

Thus, Latchin’s gentle, leisurely approach to “I’ll Be Home for Christmas,” with its thoughtful bridge, is straight out of Bill Evans: all the way up to its effervescent finish. Latchin’s reverential introduction to “God Rest Ye Merry, Gentlemen” slides into traditional swing, and then explodes with a lengthy, forcefully sassy piano solo that reminds me of Herbie Hancock.

 

Latchin channels Ahhad Jamal for a peppy run at “Rudolph, the Red-Nosed Reindeer,” backed by Morrison’s rapid-fire, double-time percussion. The latter also takes a vibrant drum solo, which totally cooks. Other idols cited in the album’s liner notes include Thelonious Monk, Cedar Walton, Phineas Newborn and Barry Harris. 

 

I detect Monk in “Winter Wonderland,” with its mildly mysterious atmosphere. The arrangement also cleverly messes with time signatures, and Di Lecce’s walking bass is particularly choice. As for Walton and the others … I’m not sure.

 

Di Lecce opens the melody on “Jingle Bells,” and also has a cool solo following another of Latchin’s fiery bridges. He begins “The Christmas Song” with a slow, delicate keyboard intro, and then Morrison kicks things into double-time, and the tune takes on a bossa nova ambiance. “White Christmas” is simply gorgeous, with another soft keyboard intro, after which Latchin gives the tune a contemplative atmosphere, backed by Di Lecce’s lovely walking bass.

 

“A Toast to Friends,” a Latchin original, is a charming ballad that genuine sounds like its title; Di Lecce is granted another of his sleek solos. The album concludes with a mid-tempo, rolling waltz reading of “Silent Night”: a bit peppier than this perennial carol usually warrants, with Morrison’s drums setting a cheerful mood.

 

As you’ve likely realized by now, yes: This one’s a keeper. It’s lush.

Jeff Hamilton and Scott Hamilton: Live in Bern

Capri Records
By Ric Bang
Buy CD: Live in Bern

Scott and Jeff aren’t related, except by a love of jazz and stellar abilities on their instruments of choice: Scott on the tenor sax, and Jeff on the drums.  They were born within a year of each other, Scott in 1954 and Jeff in ’53, during the latter stages of the swing era, and the early years of the bop revolution. Both worked with icons during their formative years: Benny Goodman for Scott, and Lionel Hampton and the Tommy Dorsey “ghost band” for Jeff.

Scott has been compared to Stan Getz and Zoot Sims but, as time has passed, has developed  a sound of his own: smooth, uncluttered, beautifully toned and always swinging. Most of his time is spent living and touring outside the United States.

Jeff is in demand by all sorts of A-list artists, both instrumentalists and vocalists. I’ve never heard a record of his that wasn’t top-drawer.

This release marks their first time together. Because both work constantly, and were scheduled to perform at the International Jazz Festival in Bern, Switzerland, they met there and made this album.

Scott joins Jeff’s trio in a sumptuous menu of tunes from the Great American Songbook, along with some jazz classics.  The lineup includes “September in the Rain,” “Watch What Happens,” “You and the Night and the Music,” Mal Waldren’s “Soul Eyes,” Benny Carter’s “Key Largo” and Billy Strayhorn’s “Ballad for the Very Tired and Very Sad Lotus Eaters.” Jeff Hamilton also features an original, “Sybille’s Day.” All are great tunes, and all handled superbly, as evidenced by the fact that the combo recorded everything in a single session.

The result? This is a marvelous, swinging album. The band also features Tamir Hendelman on piano, and Christoph Luty on bass, both on a grooving par with the two Hamiltons.

What’s not to like?

Mark Winkler: Jazz and Other Four Letter Words

Cafe Pacific Records
By Ric Bang
Buy CD: Jazz and Other Four Letter Words

Los Angeles-born singer/songwriter Mark Winkler has performed and recorded since the mid 1980s. He’s another hip vocalist in the style of Dave Frishberg, Mose Allison, Michael Franks and Bobby Troup, although Winkler’s delivery is a bit more smooth. He has written charts for others — such as Liza Minnelli and Randy Crawford — but is best known for performing his own material. He’s also a crossover artist, in that he does a lot of pop music and has even written a Broadway show.

His recording output was limited for awhile, with only half a dozen albums until the new century. Since then, he has been much busier. 

Winkler always surrounds himself with talent. The backup musicians on this release include pianist Jamieson Trotter, guitarists Larry Koonse and Pat Kelley, bassists John Clayton and Dan Lutz, drummers Jeff Hamilton and Mike Shapiro, and instrumentalists Bob McChesney and Walt Fowler. 

Winkler also does a couple of duets with Cheryl Bentyne, of Manhattan Transfer fame.

The menu includes tunes by Frishberg, the Gershwins, Paul Simon and Richard Rogers, along with some originals. Everything is appealing, and — more importantly — everything swings.

Winkler is an excellent vocalist, and his voice is smooth as silk. Give him a try.

Jeff Hamilton Trio: Great American Songs Through the Years

Capri Records
By Ric Bang
Buy CD: Great American Songs Through the Years

I knew this release would be great, even before hearing it. Jeff Hamilton is the most tasteful drummer around; ditto for pianist Tamir Hendleman and bassist Christoph Luty. Add the fact that these artists have played together for more than a decade, and, well, you have a sure winner.

Capri Records obviously thinks the same. They took this album — initially released in 2013 in Japan, by Art Promotion Inc. — and produced a 2,500-copy limited edition of their own. Get yours quickly (although I expect it’ll be popular enough to prompt further editions).

Hamilton, born in the early 1950s, quickly became a percussion legend. It’s difficult to find a top artist with whom he hasn’t worked. During his early years, the list included Lionel Hamilton, Woody Herman, Monty Alexander and the Tommy Dorsey “ghost band.” The Clayton-Hamilton Jazz Orchestra (CHJO) was formed in 1985, and still exists and records today. Other associations include Count Basie, Ella Fitzgerald, Rosemary Clooney, Diana Krall and combos under Hamilton’s own name.  

The number of vocalists he has supported is a further indication of his tasteful playing.

Hendelmen, born in Israel in 1984, moved to the States and at age 14 won a Yamaha competition. In 1993, he became the youngest musical director at Florida’s Lovewell Institute. He has recorded with Barbra Streisand and Natalie Cole, toured with Tierney Sutton and the Bill Holman Big Band, and (of course) is a member of Hamilton’s combo and the CHJO.

Luty has been with Hamilton’s trio for a decade, also is a member of the CHJO, and teaches. His association with name artists includes Shirley Horn, Dave Brubeck, Bill Cunliffe and Bill Watrous.

Anyone who lived through the Big Band years will be familiar with the 10 Great American Songbook tunes that fill this album. It’s all familiar, memorable and swinging, and it’s an absolute must for your jazz library.

Adam Schroeder: Let's

Capri Records
By Ric Bang
Buy CD: Let's

Reed instruments have been featured in jazz groups since the genre began. The clarinet was king in the beginning, when icons such as Benny Goodman and Artie Shaw gained their fame on that “horn.” As bands grew larger, entire reed sections were introduced, consisting of alto and tenor saxophones, often a pair of each. In many cases, one of those musicians also would double on the baritone sax. That big instrument eventually became a staple, and the reed section grew from four to five members. 

Half a dozen individuals became stars with that big horn during the big band years: Harry Carney (with Duke Ellington’s unit), Cecil Payne (John Coltrane), Serge Chaloff (Woody Herman), Gerry Mulligan (Elliot Lawrence), Leo Parker (Coleman Hawkins) and Jack Nimitz (Herman and Kenton). 

As time passed, we began to hear from the next generation of artists who chose the baritone sax as their primary instrument. Adam Schroeder is one of the newest, and many consider him to be one of the best. Because of the horn’s size and its musical range, it’s difficult to play while producing a clean tone. Schroeder has no trouble in that regard; he gets a gorgeously full bodied, almost sweet sound throughout the full register.

While swinging like crazy.

Schroeder owes much of his success to Clark Terry, who first heard the newcomer at his Institute of Jazz Studies.  In addition to Terry, Schroeder has worked with Louie Bellson, Ray Charles, Diane Krall, Sting, John Pizzarelli, Chris Botti and Bob Mintzer, to name just a few.

This is the second album released under his own name. Schroeder is supported by guitarist Anthony Wilson and — in my view — the best rhythm duo working today: bassist John Clayton and drummer Jeff Hamilton. This use of a guitar, rather than a piano, really helps move the group. 

Five of the 11 tracks are Schroeder originals; the rest are jazz standards such as Duke Pearson’s “Hello, Bright Sunflower,” Sam Koslo’s “In the Middle of a Kiss” and Benny Carter’s “Southside Samba.”

This is a great, swinging album by a quartet of masters.

Holly Hofmann: Low Life

Capri Records
By Ric Bang
Buy CD: Low Life

Holly Hofmann is one of the finest flautists ever to have graced the musical stage. Of course she began her career in the classical genre, but she expanded into the field of jazz back in the early 1980s, and she followed that path to fame. She has worked with artists who are tops in the jazz world — far too many to list — and has created an extensive discography over the years, with more than a dozen highly rated albums. 

Most of Hoffmann’s previous releases feature her on the C flute, but she plays the alto flute exclusively for this album. That instrument’s range is more limited, but it compensates with a tone that’s more lush. 

The supporting cast includes her husband, Mike Wofford on piano, along with bassist John Clayton, drummer Jeff Hamilton and guitarist Anthony Wilson. These gentlemen are in the top echelon of the jazz world: Wofford has been well known from the 1960s, both as an accompanist for stars Sarah Vaughn and Ella Fitzgerald, but also as a member of great bands fronted by Benny Carter, James Moody, Gerald Wilson and countless others. Hamilton, to many the finest drummer working today, has gained considerable fame with the Clayton/Hamilton Big Band; John Clayton is the Clayton in that same great group. Wilson frequently works with Diana Krall and numerous other name artists.  

All things considered, this group is the Rolls Royce in a fleet of other classic cars.

Four of the tunes from the album menu were composed by group members: “Lumiere de la Vie,” by Hofmann; “Jack of Hearts,” by Wilson; and “Touch the Fog” and “Cedar Would,” by Clayton. The familiar Ray Noble gem, “The Very Thought of You,” is particularly moving; and Mulgrew Miller’s “Soul-leo” swings quite nicely. 

All the charts are beautifully done; whatever the tempo, everything swings wonderfully. You’re in the hands of true pros.

The Clayton/Hamilton Jazz Orchestra: The L.A. Treasures Project

Capri Records
By Ric Bang
Buy CD: The L.A. Treasures Project

We could choose from many great jazz orchestras during the big band days, and most of them featured vocalists who became as famous as the groups with whom they worked. Remember the days when you could catch them at ballrooms, theater stage shows and jazz clubs, and in movies? Sadly, as time passed, the costs associated with large orchestras (and famous singers) became prohibitive; dancing became less popular; and jazz-related entertainment was packaged in smaller doses at smaller  venues. 

Concert halls and festivals replaced ballrooms, and road tours disappeared almost completely; albums and DVDs took their place. That said, musicians occasionally have formed “special” groups to deliver and record a few concerts. Once in awhile, such units would become popular enough to carry on for years. The Clayton/Hamilton Jazz Orchestra (CHJO) is one such organization.

It came to life in 1985, thanks to drummer Jeff Hamilton and brothers John (bass) and Jeff Clayton (sax). Their interpretation of “big” was truly big: five trumpets/flugelhorns, four trombones, five saxes and woodwinds, and a rhythm section of piano, bass, guitar and drums. The individual members have varied over time, but Hamilton and the Claytons have remained a constant. Let it be said: The CHJO is the best big band orchestra in existence today.

This particular release is made special by the inclusion of two vocalists: Ernie Andrews and Barbara Morrison. Andrews was born in 1927, Morrison in 1950; both are jazz icons.  Almost all of this album’s tunes feature vocals by these two artists, and their treatment is wonderfully bluesy. It brings back memories of decades past.

These 13 tracks include both old and new melodies, and everything swings like crazy! Too much time has passed since I’ve heard the likes of “Beautiful Friendship,” “Time after Time” and “I Ain't Got Nothin' but the Blues.” 

Hamilton, simply put, is the best drummer working, for organizations of any size. Back in the day, the drummer always was key in the swingingest bands. And I’m not thinking only of his ability to solo; Hamilton drives his wonderful band, and hits every emphasis. He’s a master.

This album reminds me of the  time when the patrons wouldn’t dance; they’d gather around the stage and just listen to the band. The CHJO is that kind of orchestra.

Mike Jones: Plays Well with Others

Capri Records
By Ric Bang
Buy CD: Plays Well with Others

You’re probably not familiar with pianist Mike Jones unless you’re a regular visitor to Las Vegas, and a fan of magicians Penn & Teller; Jones became an opening act for their show in 2006, and is with them still, as I write this review. Jones provides an hour of music — with a beaming Penn Jillette on bass — before the magicians take the stage for the main event.

Jones, born in 1962, was performing professionally by the age of 10. At the suggestion of Oscar Peterson, he attended Boston’s Berklee School of Music, after which he pursued a career as a studio musician. In addition to being an on-air pianist, Jones performed with Boston and New York City jazz groups; as his local fame grew, he became part of events such as the “Floating Jazz Concerts” that were held on the SS Norway and Queen Elizabeth II. 

Jones’ style is traditional, rather than bop, and he loves the old standards. This album contains a baker’s dozen of classic tunes: “Besame Mucho,” “It’s a Wonderful World,” “September Song,” “Detour Ahead,” “Day by Day” and others that will bring back memories. Fans who’ve seen him in Vegas know that he often plays at blazing speeds; his right hand is like lightning, and his left hand is much “busier” than what you’ll hear from an average pianist. 

For this album, though, Jones has toned down the “Gee, look how fast I am” fireworks; instead, he concentrates on the wonderful melodic lines found within these standards.

Jones is joined by Jeff Hamilton, one of the finest drummers playing today, and 21-year-old bass prodigy Mike Gurrola. As expected, they provide smooth and swinging support. You’d camp out at any lounge or concert hall to hear this trio, and you’d totally enjoy these guys.

The Joe Clark Big Band: Lush

Jazzed Media
By Ric Bang
Buy CD: Lush

Without musicians such as trumpeter/composer/arranger Joe Clark and drummer/composer/arranger Jeff Hamilton, we wouldn’t be treated to big band jazz very often. Thankfully, every once in awhile, the likes of Clark and Hamilton get an urge to revisit the days when those wonderful “large groups” ruled the roost in the world of music. 

Clark and Hamilton took the effort to create the arrangements, obtain the necessary financial backing, and gather the musicians to rehearse and produce albums like the subject of this review. Sometimes bands like this actually play a concert or two, but often the album created during the recording session is the sole result of all of the effort involved. What a shame!

Lush is such an endeavor, and it’s a winner. This is truly a big band: five reeds, five trumpets and flugelhorns, four trombones including a bass instrument, and a rhythm section with piano, guitar, bass and drums. The drummer is Hamilton himself: simply one of the best at his instrument. The fact that this group never had performed together, before the first rehearsal, is proof of their excellence as musicians.

The tunes on the menu include five standards — “Lush Life,” “Well, You Needn’t,” “Tenderly,” “Yesterday’s Gardenias” and “Samba de Martelo” — and three originals specifically created this album. Many members of this august group are featured soloists in various tracks, and each is excellent.

As you absorb this performance, you’ll note that it does come across as a concert effort; yes, it definitely swings, but the excitement generated by live bands — say, those fronted by Woody Herman, Lionel Hampton or Don Ellis — is missing. Be that as it may, these guys are outstanding. Let’s hope that they, and others like them, continue to produce this kind of music.

Graham Dechter: Taking' It There

Capri Records
By Ric Bang
Buy CD: Takin' It There

This album, the second released by Graham Dechter and the Jeff Hamilton Trio, is every bit as great as the first, Right on Time.

What makes this group so good? Well, all the musicians are members of the famous Clayton/Hamilton Jazz Orchestra (CHJO), one of best big bands active today. Bassist John Clayton, his brother Jeff — who plays alto sax and flute — and drummer Jeff Hamilton formed the CHJO in 1985, and that group has remained at the top of the jazz world ever since. That big band, and combos composed of CHJO members, have delivered numerous releases that help keep jazz alive.

Hamilton and John Clayton are the “elder” members of this quartet; Israeli-born Tamir Hendelmen is in mid-career; and Graham Dechter, in his 20s, is the youngest. All four are musician’s musicians, and they’re also composers, arrangers and teachers. Each had college/university training and experience in both the classical and jazz genres, and each is an in-demand accompanist for famed vocalists. And that’s always an excellent indicator of skill and taste.

This session’s 10 tracks cover a broad musical spectrum. Half were written by other guitarists, including Wes Montgomery’s “Road Song,” Barney Kessel’s “Be Deedle, Dee Do.” Two are Dechter originals, and you’ll also hear lovely covers of two standards: Cole Porter’s “Every Time We Say Goodbye” and Arlen/Mercer’s “Come Rain or Come Shine.” 

The operative descriptor? Everything swings like crazy! In my mind, the only thing better than a classic jazz trio is the quartet obtained a guitar is added; that instrument contributes a tremendous drive to the unit.

Let’s have more great jazz from these guys!

Jeff Hamilton Trio: Red Sparkle

Capri Records
By Ric Bang
Buy CD: Red Sparkle

Unless you’re way out of touch, you know that the Jeff Hamilton Trio is the best small-jazz unit in today’s music world.

Not long ago, that accolade applied to groups headed by Bill Evans, Oscar Peterson, Ray Brown and Gene Harris ... but since their passing, Hamilton’s trio stands alone.

Hamilton is the elder statesman, approaching 60. It’s almost impossible to find a jazz artist or group with whom he hasn’t played and recorded. He’s the “Hamilton” who co-leads the Clayton/Hamilton Big Band, which has existed for many years (and remains one of the best jazz orchestras playing today). Earlier in his career, Hamilton worked with all three of the top trios mentioned above, along with Tommy Dorsey, Lionel Hampton, Woody Herman, Count Basie, Ella Fitzgerald, Barbara Streisand, Mel Torme, Diana Krall and oh so many others. Note, in particular, the top vocalists mentioned; they’re a key indicator of his “tastefulness.” (Singers want to be supported, not overwhelmed.)  

Bassist Christoph Luty came to Los Angeles from Salt Lake City in 1990, so he could “play with the greats. He and Hamilton have worked with many of the same individuals and groups: a clear explanation for their close alliance. 

Tamir Hendleman, a prodigious, Israeli-born pianist, is the relative youngster in the trio; he joined in 2000. Once again, an examination of his career experience reveals a path closely allied with his trio colleagues; all three are members of the Clayton/Hamilton band, and have been members of various groups that have supported icon vocalists.

What else do they have in common? They swing like crazy, yet  it’s “different” in a wonderful way. Their absolute control of their instruments produces a preciseness that is beyond the sound and “feel” possessed by other groups. That, in turn, grants their performance a relative “softness.”

The 10 tracks here cover the jazz waterfront. Four are group originals: Hamilton contributed “Ain’t That a Peach” (a tribute to Snooky Young, who was part of the Clayton/Hamilton band for years) and “Red Sparkle” (the color of Jeff’s first drum set). Luty composed “In an Ellingtone,” and Hendleman and Hamilton produced “Hat’s Dance.” The rest of the menu consists of standards by Johnny Mercer, Harold Arlen, Ray Brown and others. As arranged and delivered here, they’re all winners.

This isn’t the first album by this trio, and I’m sure it won’t be the last. And, like all the others, it’s a great keeper.

Jeff Hamilton Trio: Symbiosis

Capri Records
By Ric Bang • Originally published in The Davis Enterprise, 4.1.10
Buy CD: Symbiosis

Trios usually aren't headed by drummers.

That statement alone indicates how drummers often aren't regarded in the same category as other musicians. An old music joke goes, “How big is your band?”

Answer: “Fifteen musicians and a drummer.”

Nothing could be further from the truth.

Jeff Hamilton is a drummer; he's also a musician and arranger, and leader of this group. He's joined here by pianist Tamir Hendelman and bassist Christoph Luty. All these gentlemen are excellent, experienced and in-demand artists. Hamilton has worked with Ray Brown, Oscar Peterson, Woody Herman, Ella Fitzgerald, Count Basie and Diana Krall, and co-leads the Clayton-Hamilton Jazz Orchestra, which also features Hendelman and Luty.

This trio has been together for nine years.

Symbiosis blends wonderful oldies (“You Make Me Feel So Young,” “Polka Dots and Moonbeams” and “Blues in the Night”) with jazz standards (“Blues for Junior,” “The Serpent's Tooth”) and a Hamilton original (“Samba De Martelo”). The tunes cover the musical waterfront: ballads, blues, bop and bossa nova.

The melodic lines are freshly interpreted; the solos are impressive, and everything swings wonderfully. Hamilton's contribution has a lot to do with that; he's “felt” more than heard. His playing always adds to the sum total, and never interferes with what's going on.

This is a marvelous group.