Joshua Breakstone: 88

Capri Records
By Ric Bang
Buy CD: 88

Like a lot of jazz lovers, I first was turned on to the bop stuff recorded by Charlie Parker and Dizzy Gillespie. That said, it took awhile for other instrumentalists to get on board with bop style and phrasing. I remember how excited it was, hearing guitarist Joshua Breakstone for the first time; he has been one of my favorites ever since.

This release presents him in his favorite format, with a quartet. But this quartet is different: The usual guitar, bass and drums are joined by a cello, rather than a piano. 

Breakstone has long admired the piano, and its artists. He believes in a “kinship” between guitar and piano, and the artists who play them. This release features charts that some of the world’s great pianists have written and performed during their careers: thus the album title (88).

Breakstone is joined by bassist Lisle Atkinson, drummer Andy Watson, and cellist Mike Richmond. All are masters of their instruments, but I bet you’ve never heard a cello played the way Richmond plays it.

As Breakstone puts it, “This group is a string section with a drummer.” 

The liner notes discuss each of the tunes, and identify the musicians with whom they’re associated; they include John Coltrane, Harold Mabern, Sonny Clark, Cedar Walton, Mal Waldron, Thelonious Monk, Barry Harris, Tadd Dameron and Lennie Tristano.

At times, the interplay between the members of this quartet is almost unbelievable. Breakstone usually established the melodic theme, and then the others join in on variations and solos. If you aren’t convinced that each artist can produce great lines on his “horn,” this album will make you a believer. And that Watson, who not only establishes a solid rhythmic line; his breaks and solos add greatly to the overall presentation.

This fantastic group swings like crazy, and creates truly great jazz. Please: More, more and more!

Nick Finzer: Hear and Now

Outside In Music
By Ric Bang
Buy CD: Hear & Now

Millennial-generation trombonist, composer and arranger Nick Finzer is new to me, but not to the jazz world. The son of well-known flutist Sherry Finzer, he developed and interest in jazz at an early age, became a fan of Duke Ellington and, while in high school, performed at the Essentially Ellington jazz competition at New York’s Lincoln Center. Finzer attended the Eastman School of Music, and then received a master’s degree at Juilliard.

While at Eastman, Finzer impressed Wycliffe Gordon, who composed four pieces for him; while at Juilliard, Finzer was mentored by the legendary Steve Turre. In 2011, Finzer won the Eastern Trombone Workshop National Jazz Trombone Composition, after being a finalist in the 2010 Trombone Association’s Carl Fontana Jazz Trombone Competition.

Finzer’s debut album (Exposition) was released in 2013; his second (Chase) followed in 2015. This new CD features him with his sextet; all the tracks are original compositions except for Ellington’s “Single Petal of a Rose.” Two charts are true burners: “We the People” and “Race to the Bottom.” “Lullaby for an Old Friend” and “Love Wins” are mid-tempo, and all the others are ballads. 

Finzer’s handling of “Single Petal” is one of the most gorgeous renditions of that classic that I’ve ever heard. His instrumental dexterity is superb; his tone is clear, clean and — with the ballads — beautiful.

He’s backed by equally talented sidemen: Lucas Pino (tenor sax and bass clarinet), Alex Wintz (guitar), Glenn Zaleske (piano), Dave Baron (bass) and Jimmy Macbride (drums). Finzer’s web site indicates that he has a heavy performance schedule; although his home base is New York City, he travels a lot throughout the States and in other countries. Keep an eye out for him: He’s a great talent, and you don’t want to miss him.

John Abercrombie, Peter Bernstein, Lage Lund, Rale Micic: Inspired

ArtistShare
By Ric Bang
Buy CD: Inspired

This group features four of today’s finest guitarists. The album is one of many projects sponsored by ArtistShare, founded in 2003 to connect artists with fans, in order to share the creation of new works. Since its launch, ArtistShare projects have garnered 10 Grammy Awards and 29 Grammy nominations. 

The four guitarists here have one thing in common: respecting and continuing master guitarist Jim Hall’s musical vision.

John Abercrombie and Peter Bernstein were born in the States; Rale Micic hails from Serbia, and Lage Lund from Norway. Abercrombie, Micic and Lund all studied at the Berklee College of Music; Bernstein attended New York’s New School. All credit Hall as a major career influence.

Three album tracks are Hall originals; the other eight are standards from the Great American Songbook. Only one, Hall’s “All Across the City,” features all four performers together. Four standards are done as solos: “Alone Together,” by Micic; “My Ideal,” by Bernstein; “Body and Soul,” by Lund; and “Embraceable You,” by Abercrombie. All the other tracks are duets: Hall’s “Dream Steps,” by Micic and Lund; Hall’s “Bon Ami,” by Bernstein and Lund; “My Funny Valentine,” by Abercrombie and Micic; “I’m Getting Sentimental Over You,” by Lund and Abercrombie; “I Should Care,” by Bernstein and Micic; and “I Hear a Rhapsody,” by Bernstein and Abercrombie.

This “must have” album is for listening, not dancing; it’s not a hard swinger, but it’s pure jazz nonetheless. Every melody is done  beautifully and softly, and will sooth your soul. These guys are true masters, and we’re blessed by their presence.

Craig Hartley: Books on Tape Vol. 2 — Standard Edition

Self-Produced
By Ric Bang
Buy CD: Books on Tape Vol. 2 — Standard Edition

Pianist/composer Craig Hartley seems a bit of a recluse; background information is rather sparse. This, the second of his (thus far) self-produced albums, features a typical piano, bass and drum trio. Hartley arranged all the tracks; one (“Just Wait”) is his own composition, and the rest are standards.

Bassist Carlo De Rosa is a well known New York artist who has worked with dozens of musicians and groups in the States and other countries, in both the jazz and classical genres. Drummer Jeremy “Bean” Clemons, born in St. Louis, moved to the Big Apple in 2003 and has been a first-call artist for many years.

These three fill this album with “polite” — and definitely swinging — jazz. Two selections are by Ellington: “Caravan” and “Mood Indigo.” The former is an up-tempo arrangement; the latter, usually performed as a slow, sexy, close-dance melody, emerges here at a mid-tempo, finger-snapping groove. It brings one of Duke’s favorite melodies to life.

Hartley’s handling of Fats Waller’s “Jitterbug Waltz” is one of the nicest interpretations of that chart I’ve ever heard; the time signature flips back and forth between 3/4, 4/4 and 5/4.

I’m particularly enchanted when standards from two different genres are blended, as when Bach’s Prelude No. 2 in C minor weaves in and out of Miles Davis’ “Solar”; they fit beautifully. “Imagine Peace Piece” is another mash-up: John Lennon’s “Imagine” and Bill Evans’ “Peace Piece.” The closer in the set, “Just Wait,” is a beautiful ballad.

This is an excellent album: mood music that is pure jazz in a relaxed and restful format.

The Buselli-Wallarab Big Band: Basically Baker Vol. 2

Patois Records
By Ric Bang
Buy CD: Basically Baker Vol. 2

David Baker (1932-2016) devoted his life to jazz. He was a trombonist early on, playing with icons such as Freddie Hubbard, John Lewis and George Russell. A jaw injury prevented Baker from continuing with that instrument, so he switched to cello — composing and arranging — and then teaching.

He taught for years at Indiana University’s Jazz Studies Department, during which time he was commissioned by more that 500 individuals and organizations for compositions. Baker received nominations for both the Pulitzer Prize and Grammy awards, was inducted into several Jazz Halls of Fame, and ultimately received the President’s Award for Distinguished Teaching.

The 17-piece Buselli-Wallarab Jazz Orchestra was founded in 1994. Mark Buselli earned degrees from both the Berklee College of Music and Indiana University; he plays piano and trumpet, composes and arranges, and has received numerous awards. Brent Wallarab is a graduate of Southern Illinois University’s Carbondale School of Music, and Indiana University. He currently works at the Smithsonian Institute in Washington, D.C., where he transcribes, edits and restores works of big bands deemed to be “national treasures.” He also plays trombone in the Jazz Masterworks Orchestra. 

This two-disc album contains 11 of Baker’s best jazz compositions and arrangements; as the title indicates, this is the second such release of his work.

You’ll immediately notice that Baker thinks and writes as a teacher; his chord structures and rhythmic patterns are richer and more “full” than most jazz arrangements. He enjoyed modifying the basic chords of jazz standards: “Sweet Georgia Brown” became “The Georgia Peach”; “Bebop” is transformed into a much more complex “burner” than Gillespie’s original chart, which has almost become the jazz National Anthem. 

Everything swings, and the solo work by the instrumentalists is excellent; it also sounds “new and different.”

This is a masterful album by an outstanding group of instrumentalists who obviously enjoy Baker’s creative interpretations of jazz.

The Mike Jones Trio: Roaring

Capri Records
By Ric Bang
Buy CD: Roaring

The two most important prerequisites for jazz are 1) it’s got to swing; and 2) it should to be fun to make and hear. This album accomplishes both.

You’ve heard pianist Mike Jones before, if you follow the magic team of Penn & Teller; Jones is their show’s opening act. Bassist/vocalist Katie Thiroux was a semifinalist in the 2015 Thelonious  Monk Jazz Competition. She recently released an album that received a rave review here. Drummer Matt Witek, a Berklee College of Music grad, frequently works with Thiroux and luminaries such as Les Fuller and Ken Peplowski.

The rhythm section Jones’ trio creates is a true groove: one of the best I’ve heard in a long time.

This release features 10 compositions from the 1920s (thus the album title). Many likely won’t be familiar to today’s fans, but were big hits during that time period, and still can bring a smile to senior citizens. The tunes swing wonderfully, and the trio obviously had a ball recording them. 

Although Jones and his trio mates hadn’t ever played together, they nonetheless were able to complete this session in less than four hours. Further, only one take was required for each tune. I enjoyed all of them, but my favorite is the opener, “Yes Sir, That’s My Baby”; my feet were stomping, and my fingers snapping, during every bar.

I’m eager to hear more from this group!

Songevity: Safe in Sound

GSI Records
By Ric Bang
Buy CD: Safe in Sound

The Songevity trio, headed by bassist Rob Duguay, includes pianist Justin Kauflin and drummer Nadav Snir-Zelniker. 

Duguay was born in Canada but grew up in Queens, New York, where he began studying classical piano at age 6. He discovered jazz — and the upright bass — in high school. He became a business student at the University of Vermont, and was playing with territory bands when he met and had the opportunity to share the stage with Clark Terry. 

After graduating with a degree in international business management, Duguay was  accepted into the University of New Orleans graduate program, where he received an ASCAP award for jazz composition. He then received a masters of music degree in jazz studies, from William Paterson University.

His association with Terry put Duguay in touch with Kauflin, who was part of that ensemble, and was the subject of the marvelous Clark Terry documentary, Keep On Keepin’ On. As the documentary indicated, and this CD demonstrates, Kauflin is a musical force to be reckoned with.

Snir-Zelniker was born in Israel in 1974, and began to play drums at 16. In 1999, after several honorary scholarships, he moved to the States and earned a bachelor of fine arts degree in music performance, at SUNY-Purchase College.

All the charts on this album are originals, composed and arranged by Duguay. They’re tasty, delightful, thoughtful and softly swinging tunes. My only caveat is the album’s brevity, with a running time of just over 40 minutes. But what’s present definitely is choice.

I hope any subsequent releases provide a lot more of the music these men capably deliver.