Kevin Stout and Brian Booth: Color Country

Jazzed5 Records
By Ric Bang
Buy CD: Color Country

Trombonist/guitarist/percussionist Kevin Stout and saxophonist/flutist Brian Booth love jazz and their home state of Utah, in equal measure. They’re longtime friends and partners who’ve released three previous albums, to rave reviews. Then followed a 10-year pause, during which they often worked together in gigs throughout Utah.

And now comes the release of Color Country.

Their careers have spanned three decades. Stout worked with The Four Freshman for almost a decade, and also has performed with Joe Piscopo, The Four Tops, Frank Sinatra Jr. and Don Menza’s Big Band, as well his own groups. Booth, in turn, has shared a stage with notables such as Natalie Cole, Lou Rawls, Mel Torme and Ray Charles, among others. Booth also has led his own groups in Utah and the surrounding states.

This new album celebrates the Southern Utah region that contains five National Parks often visited by Stout and Booth. The 13 tracks, all of which they composed and arranged, are named for points of interest with particular meaning to both of them. 

The supporting musicians include pianist Joey Singer, bassist Tom Warrington, drummer John Abraham and vocalist JoBelle Yonely.

All but one of the tracks are done at mid- to up-tempos, using 4/4, 3/4, Latin, fusion and straight-ahead meters. The exception is the ballad “Weeping Rock,” which features Booth’s soprano sax, Stout’s guitar and trombone, and Yonely (no words, just gorgeous vocal chords).

Every track is great, but my favorite is “Petroglyphs,” which really rocks (pun intended).

I’m particularly impressed by the various instruments interface, during both the ensemble and solo choruses; the arrangements are complex at times, but they always swing. On top of which, the solos are truly excellent.

Plan on “all listening, without much talking” when this album hits your rotation!

John LaBarbera Big Band: Caravan

Jazz Compass
By Ric Bang
Buy CD: Caravan

Thank goodness for musicians like John La Barbera ... and the rest of the La Barbera family! When I simply must get another “big band fix,” artists such as La Barbera get the same urge and produce an album like this one.

Let it be shouted from the rooftops: This is a “for real” big band. 

The five-man reed section comprises Brian Scanlon, on alto sax and flute; Pat La Barbera, on tenor and soprano sax; Rob Lockhart, on tenor sax and flute; Kim Richmond, on alto sax; and Bob Carr, on baritone sax and bass clarinet. The brass section features trumpeters Wayne Bergeron, Bob O’Donnell, Willie Murillo and Clay Jenkins; trombonists Les Benedict, Eric Hughes, Ryan Dragon and Ken Kugler (the latter on bass trombone); and a rhythm section of keyboard artist Bill Cunliffe, bassist Tom Warrington, drummer Joe La Barbera, and percussionist Aaron Serfaty. John La Barbera is the leader, arranger and composer, and three of the nine tunes on this menu are his.

The title song is a well-known Juan Tizol/Duke Ellington standard, as are Kenny Barron’s “Voyage” and McCoy Tyner’s “Atlantis.” All the charts swing wonderfully, and the solo work is generous and excellent.

It wasn’t even necessary to close my eyes, to make it feel like I had time-traveled back to the best of those great years, when this kind of ensemble jazz ruled the land.

Producing this kind of music merely (!) requires a blend of some well-known artists — the La Barberas, Clay Jenkins, Bill Cunliffe and Tom Warrington — and a generous helping of the myriad lesser-known, but equally talented artists who frequent the music-oriented schools and studios that are prevalent in cities such as Los Angeles and New York. The result is almost always great jazz. 

We don’t currently get as much of this large ensemble jazz as once was the case, but this album sure will do until the next big band era comes along. It’s mandatory that we support such music for now, so that it’ll survive until the next coming!

Joe La Barbera Quintet: Silver Streams

Jazz Compass
By Ric Bang
Buy CD: Silver Streams

During the years I’ve reviewed jazz releases, I’ve noticed that certain individuals often contribute to the albums I enjoy the most. Such players generally appear individually, as one of the sidemen in a group fronted by different leaders, but sometimes they'll perform together. Such is the case in this album: The “leader” is drummer Joe La Barbara, supported by bassist Tom Warrington, pianist Bill Cunliffe, trumpeter Clay Jenkins and reed master Bob Sheppard.

These artists have much in common: All obtained college degrees from schools famous for the jazz artists they have graduated; all are teachers who play jazz as a sideline; all compose and arrange; and all have extensive experience with famous "name" combos and orchestras (many were with these groups at the same time).

Jenkins has appeared with Stan Kenton, Buddy Rich, Harry James and Count Basie; Sheppard with Rich, Bob Florence and Chick Corea; Cunliffe with numerous artists, and with several of his own orchestras; Warrington with Rich, Florence, Peggy Lee and Freddie Hubbard; and La Barbara with Rich, Bill Evans and many, many others.

On top of which, these five musicians are all close friends, and they play together brilliantly. 

Two of the eight tracks were contributed by Cunliffe ("Afluencia" and "Silver Streams") and one  by La Barbara ("Monkey Tree"). The late Scott LaFaro, who played bass with Bill Evans for years, contributed "Jade Visions." The rest are standards by other jazz composers, and the common denominator is swing: They all groove wonderfully.

This is what results when a handful of great artists — who enjoy each other — get together: truly great jazz!

The Tom Warrington Trio: Nelson

Jazz Compass Records
By Ric Bang
Buy CD: Nelson

In the world of jazz, the trio format has always been a keystone: Benny Goodman, Teddy Wilson and Gene Krupa; Bill Evans, Scott LaFaro and Paul Motian; units headed by Vince Guaraldi, Nat King Cole, Oscar Peterson, Ahmad Jamal, Art Tatum and countless others.

Here’s another top-drawer group, equal to the best of those listed above. This one is headed by bassist, composer and arranger Tom Warrington, and includes guitarist Larry Koonse and drummer Joe La Barbera.

Warrington, who has lived and worked in the Los Angeles area for the past 20 years, began his career with Buddy Rich’s Big Band and has played with many past and present jazz icons. Warrington is a first-call studio musician, a participant at jazz festivals worldwide, a faculty member at the University of Nevada, Las Vegas, and a continuing presence with many of today’s artists.

If I were asked to name the best 10 guitarists working today, Koonse would occupy the top three slots. Taught by his famous guitarist father, Dave, Larry began his recording career at age 15, in a duet release with his dad. Larry was the first recipient of a bachelor of music degree from USC; after graduation, he toured for six years with John Dankworth’s group (which featured Cleo Laine). Koonse’s discography is extensive; since 1977 he has been part of more than 150 recordings. As for talent, his middle name is “tasty.”

La Barbera is the drumming member of his well-known family of musicians. He’s a graduate of the Berklee College of Music, and was a member of the famous Woody Herman Thundering Herd, along with combos fronted by Chuck Mangione, Bill Evans and numerous others.

Warrington, Koonse and La Barbera also are firmly associated with name vocalists. Warrington has worked with Peggy Lee; Koonse with Cleo Laine, Mel Torme, Linda Ronstadt, Natalie Cole and Karin Allyson; and La Barbera Tony Bennett. That’s significant; vocalists select musicians who will augment their performances.

Nelson is dedicated to a tiny cat that showed up one day and, after nine years, just disappeared. The album features original tunes by each member of the trio. Warrington contributed “Nelson,” “Buffalo Chips” and “Not If But When”; Koonse delivered “Shall We,” “Star Jasmine” and “Rachel & Sarah”; and La Barbera wrote “If Not for You” and “Sixth Sense.” The final tune, “Bolivia,” comes from Cedar Walton.

This is the best album I’ve reviewed in months; everything is thoughtful, pensive and, for lack of a better term beautiful. It’s a jazz listener’s delight.

Tom Warrington Trio: The Mountain

Jazz Compass
By Ric Bang • Originally published in The Davis Enterprise, 8.6.09
Buy CD: The Mountain

To borrow the title of the Cole Porter tune used in this album, everything I love about jazz is present on this marvelous release:

• The featured players — bassist Tom Warrington, guitarist Larry Koonse and drummer Joe La Barbara — together with guests Bob Shepard (tenor and soprano sax) and Tommy Peterson (clarinet and bass clarinet) are among the finest musicians performing today.

• The tunes selected include two beautiful old standards — the aforementioned Porter melody and George Gershwin's “My Man's Gone Now” — and originals by Warrington and Koonse.

• Warrington and Koonse's arrangements are excellent, and the entire production process — the selection of artists, recording, mixing and mastering — is of the highest quality.

I've listened to a lot of releases from Koonse, Warrington and La Barbara, together and with other groups, and this is one of their best efforts. The melodic lines are intriguing and beautifully done, and the solo work is exceptional.

The whole is a lot more than “just another trio.” That's partly due to the addition of the two reed artists on four tracks, but mostly results from the manner in which the individual tunes are organized and presented. Melodies and solos meld and rivet your attention to what's going on; this isn't music your mind will drift away from.

This is the kind of stuff that makes my job a joy.

Bill Cunliffe: The Blues and the Abstract Truth, Take 2

Resonance Records
By Ric Bang • Originally published in The Davis Enterprise, 4.2.09
Buy CD: The Blues and the Abstract Truth, Take 2

Oliver Nelson lived, and performed, during the key years of jazz.

Like many of his peers, he left us all too soon — born in 1932, died in '75 — but his contributions during that short span made him a legend. He played sax as an instrumentalist, but he was better known as a composer and arranger. He worked with many name bands during his life — Quincy Jones, as a notable example — but the classic album he released in 1961 made him famous: The Blues and the Abstract Truth.

Jazz musicians consider it in the same light as the tablets Moses brought down from the mountain. Nelson's album contained just six of his blues compositions, and they all became standards.

Pianist Bill Cunliffe, famous in his own right, is one of Nelson's disciples. Some time ago, Paul Lines, who runs the Pasadena Jazz Institute, suggested that Cunliffe should write some charts based on Nelson's album; the pianist did so, and he performed them at The Vic, a Santa Monica jazz club.

That session was taped by George Klabin, who later started Resonance Records. This album is the result; Cunliffe rearranged the six original blues and added two of his own compositions.

He has wrought a new classic.

The Take 2 band consists of trumpeters Terell Stafford and Larry Lunetta; trombonist Andy Martin; saxists Jeff Clayton, Bob Sheppard and Brian Scanlon; bassist Tom Warrington; drummer Mark Ferber; and Cunliffe on piano. It's a truly delightful group. The arrangements are excellent, as are all the instrumentalists.

The unit swings wonderfully, and Cunliffe has a lot to do with that; his solos are great, but the way he lays down chords — to back the melodic lines and other soloists — is exceptional.

This is the best album I've reviewed so far this year.

The Tom Warrington Trio: Back Nine

Jazz Compass
By Ric Bang • Originally published in The Davis Enterprise, 3.16.06
Buy CD: Back Nine

Take guitarist Larry Koonse, add well-known drummer Joe La Barbara, meld them with superb bassist Tom Warrington, and the result is one accomplished trio. 

The customary trio instrumentation consists of piano, bass and drums; replacing the piano with a guitar changes not only the sound, but the type of arrangement being played. 

When a pianist wants to hold a note, the pedal action holds not only that note, but also anything else played at that moment. This often results in a cacophony of sounds, so the piano is better suited to up-tempo melodic lines. 

A guitarist can hold individual notes without affecting other notes, thus providing a more harmonious and flowing melodic line for ballads. A guitar also is superior to a piano for blending lines with the bass. 

It's therefore no surprise that most of this album's tracks are slow- to moderate-tempo arrangements. That makes Back Nine wonderful jazz "mood music," but don't think it doesn't swing! 

Two of the tracks — "Light and Shadow" and "Labyrinth" — were written by Koonse; "Nardis" is a Miles Davis tune; the beautiful "Whisper Not" comes from Benny Golsen; and the remaining tracks were written by Warrington. All are a joy to the ears. 

This group is so laid-back, so innovative, that it's difficult to believe I'm hearing only three musicians. Back Nine is a true gem, and a must-have album.