Mike Holober: Quake

Sunnyside Records
By Ric Bang • Originally published in The Davis Enterprise, 5.7.09
Buy CD: Quake

Pianist/composer/arranger Mike Holober has worked with — and written for — some of the top artists in the jazz scene; he can be heard on more than 40 recordings as a sideman.

As a leader, he has recorded with both a quintet and the Gotham Jazz Orchestra; this album features the latter group.

In addition to Holober's work in the New York City area, he has toured extensively in Europe and has performed and/or recorded with the HR Big Band in Frankfort, the WDR Big Band in Cologne, and the Stockholm Jazz Orchestra. He's also an assistant professor at the City College of New York.

Holober's style is in the contemporary classical jazz idiom. His compositions are musical, rhythmic and complex: definitely written for the concert stage, and not for dancing. The Gotham Jazz Orchestra consists of five saxes, four trumpets, four trombones, a guitar, a bass and drums, with Holober playing both piano and Fender Rhodes.

The musicians are excellent, and the unit is beautifully rehearsed: no fluffs to be heard. The content consists of thoughtful and brilliant ensemble passages, interspersed with outstanding solo work by members from each section of the orchestra.

It's almost too precise; a little less perfection might have yielded a more exciting performance. That said, what's present is choice!

Bill Evans: Sunday at the Village Vanguard

Keepnews Collection, Concord Records
By Ric Bang • Originally published in The Davis Enterprise, 5.7.09
Buy CD: Sunday at the Village Vanguard

If one were to list influential artists in the field of jazz, pianist/composer/arranger Bill Evans would be near the top.

A large segment of the general public doesn't know about him, because he never played with any of the “famous” bands of the jazz years, and in fact usually worked with small groups. Few musicians, however, fail to recognize his genius.

Evans, born in 1929, was playing classical piano at age 6, and he also studied flute and violin as a child. He received a degree in piano performance at Southeastern Louisiana College in 1950, and studied composition at New York's Mannes College of Music. After a stint in the U.S. Army, he worked in the Chicago area, then moved to — and got noticed — in the New York City jazz scene.

Miles Davis asked Evans to join his group in 1958, where the pianist remained for nearly a year. In '59, Evans formed his most innovative trio, with Scott LaFaro on bass and Paul Motian on drums; that trio — recorded during a “Sunday At The Village Vanguard” concert in New York in '61 — is featured in this album.

It was Evans' first live recording session and initially was released on vinyl; this CD is a 24-bit re-mastering of that session.

The original LP contained six tunes; this CD retains those tracks and adds four alternate takes.

Let's face it, gang: This album is a gem.

I've never heard another trio that thinks and plays together as cohesively, and beautifully. Evans is masterful, and LaFaro is his equal. (Tragically, LaFaro was killed in an automobile accident mere months after this session, and Evans didn't play again for almost a year.)

Unfortunately, Evans left us too soon; he died in 1990 from illnesses related to excessive drug use.

Fortunately, he left an extensive discography, and this album is one of the best. Shame on anybody who doesn't partake of his genius.

The Wayne Wallace Latin Jazz Quintet: Infinity

Patois Records
By Ric Bang • Originally published in The Davis Enterprise, 4.2.09
Buy CD: Infinity

The bands and artists with whom Wayne Wallace has played are numerous: Count Basie, Lionel Hampton, Lena Horne, Celine Dion and Aretha Franklin merely top the impressive list.

Wallace composes, arranges, teaches and produces, and is expert on the tenor and alto trombones. And the tuba.

This album features his Latin jazz quintet: Murray Low (keyboards), David Belove (bass), Paul van Wageningen (drums) and Michael Spiro (percussion). Guests include Roger Glenn, on vibes and flute; vocalist Jackie Ryan; and a group of background singers.

Wallace composed four of the tunes; the others are covers of familiar American and Latin standards. All are presented in various Latin jazz idioms: samba, cha cha, mambo and funk.

This group's sound is big, considering its relatively small size; plaudits to Wallace's arrangements and the artistry of the instrumentalists and vocalists. The group also is smooth and warm; the background rhythmic “noise” that sometimes is too prevalent with Latin groups is absent.

Whether you're just listening or dancing, this is a solid album for Latin jazz fans.

Tony DeSare: Radio Show

Telarc
By Ric Bang • Originally published in The Davis Enterprise, 4.2.09
Buy CD: Radio Show

I reviewed vocalist/composer/arranger Tony DeSare's first album (Want You) in 2005, and concluded my assessment with the words, “He can't miss.”

I was equally pleased with his second album (Last First Kiss); it marked his arrival in the big time, and I knew it would be a pleasure to watch him grow.

Well, grow he has, and this third album is proof that he's the best young male vocalist in the country.

Why, then, isn't he better known?

Early in his career, DeSare performed primarily on the East Coast; he developed a significant fan base but seldom went on the road. That has changed. Since 2007, DeSare has performed on both coasts, at some cities in mid-America, and has toured overseas. He also went on the road to promote this album.

Radio Show is a clever production. Several music labels are releasing “time capsule” albums that cover past work done by famous artists; many of these include some re-mastered radio broadcasts that featured the artists in question. DeSare has used this approach as well; each tune here is preceded by a radio host or DJ, who introduces the song and the artist.

The album features 14 tracks, covering tunes from the past and the present; DeSare composed five of the latter. More than a dozen instrumentalists worked on the finished product. DeSare plays keyboard on every track, and is supported — in different combinations, and on varying tracks — by three trumpets, a trombone, three saxes, a bass, drums, two guitars, a B3 organ, another pianist and a female vocalist.

No matter what the mix, the results are choice. This is a great album, and DeSare is a sensational vocalist.

Mark Colby: Reflections

Origin Arts
By Ric Bang • Originally published in The Davis Enterprise, 4.2.09
Buy CD: Reflections

Tenor saxman Mark Colby has played, recorded and toured with many jazz legends during the past 40 years, including Maynard Ferguson, Gerry Mulligan, Clark Terry and Charlie Haden.

Although Colby isn't well known outside the Chicago area, he's a “first call” musician when name artists come to town. And while Colby has recorded only two albums under his own name, he has been heard on literally thousands of commercials in the Windy City. He also teaches, and has been a member of DePaul University's faculty since 1983.

Most of the musicians who support Colby on this release also hail from the Chicago area: Eric Hochberg (bass), Bob Rummage (drums), Mike Pinto (guitar), Bob Lark (flugelhorn) and Jeremy Kahn and Ron Perrillo, splitting the piano chores. One track also features the great Phil Woods on alto sax.

Colby wrote three of the tunes, and Woods composed another; the rest are covers of standards from popular musicians and composers.

This relaxed, lightly swinging unit is a joy. Aside from your living room, they'd fit comfortably in jazz clubs and college auditoriums; in fact, the latter venues make up a significant part of Colby's touring schedule.

Carol Fredette: Everything in Time

Soundbrush Records
By Ric Bang • Originally published in The Davis Enterprise, 4.2.09
Buy CD: Everything in Time

Most of you probably haven't heard of Carol Fredette, and that's a shame.

She's not a household name on the West Coast for several reasons. She grew up in the New Jersey/New York area, started singing with bands from that area — and still does — and was absent from the jazz scene for a decade. Although she never has been featured with well-known big bands, it's hard to find a name jazz musician she hasn't worked with. Ron Carter, Mel Lewis and Stan Getz shared a stage with her, and the latter has stated that “she's as good as they come.”

Fredette is a true jazz vocalist. Her “feel” and phrasing are marvelous; her voice is dusky and sensual. Although she usually sings softly and expressively, she can belt it out when necessary. She favors songs that, while perhaps not readily familiar, tell a story that'll keep an audience riveted to her.

This album contains 15 tunes: mostly ballads, and many with a Brazilian pop-jazz feel. Every one is enjoyable.

Fredette's status as a true jazz vocalist also is evident in her choice of the musicians in her backup sextet: Helio Alves, Dario Eskanazi and Andy Ezrin split piano duties; Leonardo Amuedo handles guitar; Adriano Santos and Victor Lewis trade off as drummers. Barry Danielian plays trumpet, Aaron Heicke and Bob Malach play sax, and Mauro Refosco handles percussion ... and everything is held together by celebrated bassist/arranger David Finck.

Whatever the combination, these guys groove, and they showcase Fredette as a complete vocalist.

The Benny Golson Jazztet: New Time, New 'Tet

Concord Records
By Ric Bang • Originally published in The Davis Enterprise, 4.2.09
Buy CD: New Time, New 'Tet

Tenor saxman, composer and arranger Benny Golson, born in 1929 and still active, is a living legend. The Howard University graduate has worked with many of the jazz giants who were key to the bebop genre, including John Coltrane, the Heath brothers, Clifford Brown and Tadd Dameron.

Golson considered the latter to be the most important influence on his writing.

Golson's jazz standards include “Killer Joe,” “Whisper Not,” “Along Came Betty” and “I Remember Clifford.” He and the late Art Farmer co-led their famous Jazztet for several years, after which Golson concentrated on studio and movie soundtrack work. His musical contributions were an important part of the TV shows M*A*S*H, Ironside and Room 222.

Golson also had a key cameo role with Tom Hanks, in The Terminal.

Golson's new Jazztet features some fine, relatively new, sidemen. The basic sextet includes Steve Davis (trombone), Eddie Henderson (trumpet), Buster Williams (bass), Mike LeDonne (piano) and Carl Allen (drums). Vocalist Al Jarreau helps the group reprise “Whisper Not.”

The result is nice, tight and swinging. The covers of Sonny Rollins' “Airegen” and Thelonious Monk's “Epistrophy” provide a new spark to these jazz classics.

All in all, it's a groovin' album. Welcome back, Benny!