Don Aliquo/Clay Jenkins Quintet: New Ties and Binds

Self-produced
By Ric Bang
Buy CD: New Ties and Binds

As the title of this release implies, we’re not dealing with any standards on this session. All the charts are by members of the quintet: Tenor saxman Don Aliquo wrote four, while his colleagues — trumpeter Clay Jenkins, pianist Harold Danko, bassist Rufus Reid and drummer Jim White — each contributed one. 

Each musician’s resume could fill an entire page. Jenkins has worked with Harry James, Buddy Rich, Count Basie and the Clayton/Hamilton Jazz Orchestra. Danko has supported Woody Herman, Thad Jones/Mel Lewis and myriad groups led by icons such as Gerry Mulligan, Lee Konitz and Chet Baker. Reid has been part of units fronted by Art Farmer, Stan Getz and Jack DeJohnette. With respect to Australian-born White, it’s easier to say, “You name an Aussie group; he played with them.” Aliquo, finally, is a well-known sideman and teacher in the Tennessee area.

This quintet’s style is complex straight-ahead: The melodic lines, chords and key-changes keep the artists and listeners on their toes. The various arrangements’ unison sections must have been written, as they’re too complicated to commit to memory.

Most of the charts are mid- to up-tempo, and they all swing nicely. Reid deserves much of the credit; some bassists may play more creative solos, but none is more steady. Additionally, Reid is a great “producer,” meaning that he has a great talent for getting the most out of any group with which he plays.

All in all, this is an intriguing and engaging album. Give it a shot.

Tim Hegarty: Tribute

Miles High Records
By Ric Bang
Buy CD: Tribute

When good jazz musicians get together, you can almost always look forward to a swinging album. That’s certainly the case with this release, which features saxophonist Tim Hegarty. He’s not yet a name artist, but this album demonstrates that he’s well on the way. 

Hegarty grew up in a musical family, began playing at an early age, received his education at Miami University, the Manhattan School of Music, and the New School, and earned his master’s degree from Queens College.

During his early years he was good enough — and lucky enough — to learn from, and play with, luminaries such as Frank Foster, Gil Evans and the Mingus Big Band. Names like that provide the musical “keys to the city,” and Hegarty took full advantage.

Hegarty performs on both tenor and soprano sax on this album; his style is clean, straight-ahead, smooth and always swinging. He’s supported by some like-minded artists: Kenny Barron on piano, Rufus Reid on bass, and Carl Allen on drums. The excellent vibraphonist Mark Sherman also guests on half of the 10 tracks. 

The album title reflects Hegarty’s acknowledgement and appreciation of the past and present artists who have influenced him.

The musical menu include a couple of Hegarty originals, four charts from Jimmy Heath, and jazz standards from Frank Foster, George Coleman, Joe Henderson and T. Monk.

Hey, you just can’t miss with these cats!

Ali Ryerson: Game Changer

Capri Records
By Ric Bang
Buy CD: Game Changer

Flutes didn’t become a common jazz instrument until the latter years of the big band era, when members of the reed sections added it to their arsenal of horns. But once the flute appeared, it became essential; the soft, airy sound produced by the various tonal models had a marvelous impact on the way the band sounded. This emergence of flutes also prompted the creation of arrangements that were more complex and interesting, both for the musicians and the audience.

This album’s featured orchestra consists of 16 flautists backed by a rhythm section of piano, bass and drums. Five different flute models are utilized: C and alto, bass, piccolo and contrabass. Most of the musicians are fluent on more than one model. The arrangements replace the usual brass section horns with the reed instruments, producing a softer, less brilliant sound. This results in more balladic, and danceable meters. Don’t be fooled, though; this is jazz, and it swings every bit as much as the bands and combos that use brass horns.

A casual read through the liner notes reveals no indication of artists who use flutes as a “secondary” instrument. This cadre is composed of pure flautists; as a result, only true “flute groupies” are apt to recognize any names. That said, all of these players know and enjoy jazz; just listen to their solos and ensemble phrasing. (Needless to say, Ryerson’s great rhythm section — Mark Levine, Rufus Reid and Akira Tana — doesn’t hurt!) 

But don’t take my word for it; give this album a listen. As the title promises, it’s a true game changer!

Frank Wess: Magic 201

IPO Recordings
By Ric Bang
Buy CD: Magic 201

I reviewed a wonderful IPO album a few months back: Frank Wess’ Magic 101. I stated that it was the best jazz record I’d heard that year. Well, thanks to splendid foresight, Magic 201 was recorded during that same session ... and it’s every bit as sensational as its predecessor. 

The cast of artists has changed slightly, but the result still is some of the best music you’ve ever heard. Wess plays both tenor sax and flute; Kenny Barron returns on piano, and Winard Harper repeats on drums. They’re joined by bassist Rufus Reid and guitarist Russell Malone. Once again, the selected menu includes some wonderful standards (“It Could Happen to You,” “After Paris” and others), and a couple of Wess originals (“Blues for Ruby” and “If You Can’t Call, Don’t Come”). It’s all danceable; two of the charts are mid-tempo, while the rest are ballads.

Wess demonstrates his chops as a flautist on Bergman and Legrand’s “The Summer Knows”; he uses his tenor sax on the rest of the tunes. In all cases, his gorgeous tone and marvelous timing are to die for. As for his forays into the blues, nothing could groove more intently. Barron’s piano is superior, as always; Reid’s bass is solid; and Harper’s drumming is just wonderful ... swinging, but never getting in the way of the other artists. 

The addition of Malone on guitar is brilliant; this “relative youngster” fits into the group splendidly, and more than holds his own during the solo passages.

Let’s hope IPO has additional Magic chapters to lay on us, in the near future.