Gary McFarland Legacy Ensemble: Circulation

Planet Arts
By Ric Bang
Buy CD: Puzzle

I suspect only true jazz historians — or fans from my generation — are familiar with Gary McFarland. Born in Los Angeles in 1933, he came to jazz relatively late, while in the Army. He tried trumpet, trombone and piano, and settled on vibes in the mid 1950s. He also was a vocalist, but his skills as a composer, arranger and producer set him apart.

A musician is known by the company he keeps, and by those who seek him out. McFarland’s closest friends included luminaries such as Bill Evans, John Lewis, Bob Brookmeyer, Gerry Mulligan, Stan Getz, Anita O’Day and Clark Terry. And, like so many of his peers, McFarland attended the Berklee School Of Music.

Alas, his life and career were all too short. He and a friend were poisoned at a bar by someone who poured liquid methadone into their drinks. McFarland suffered a fatal heart attack and died; he was only 38 years old.

This album, by the Gary McFarland Legacy Ensemble, includes 11 of McFarland’s compositions. The quintet features another vibes icon, Joe Locke, along with pianist Bruce Barth, bassist Mike Lawrence, saxophonist Sharel Cassity, and drummer Michael Benedict. 

The track menu was chosen from different segments of McFarland’s all-too-brief career. The opening track, “Dragonhead,” is an up-tempo swinger from his time at Berklee. “Why Are You Blue” and “Blue Hodge” demonstrate his feel for the blues; the latter has become a jazz standard. “The One I Could Have Loved” and “Summer Love” represent his softer, balladic, side. Everything clearly demonstrates McFarland’s talent.

“Unknown” usually means “not missed,” but that isn’t the case here, or with McFarland in general. Thanks are due all those associated with the creation of this lovely memorial.

Here comes S-A-N-T-A ... S-A-N-T-A!

By Derrick Bang 

[Web master’s note: Northern California film critic Derrick Bang — still the eldest, youngest and only son of this site’s jazz guru, Ric Bang — has surveyed the holiday jazz scene for 20 years, with lengthy columns that just keep growing. Check out previous columns by clicking on the CHRISTMAS label below.]

I’ve been compiling the annual survey of holiday jazz for two decades.

Some years have provided a wealth of great new releases; other years have been quite disappointing. This year, I’m delighted to report, is one of the best ever.

Peanuts creator Charles M. Schulz sagely explained that a cartoonist is someone who has to draw the same thing day after day, without repeating himself; the same can be true of musicians brave enough to tackle beloved holiday tunes. We know what they sound like, and we want them to sound that way ... or close enough, in some indefinable manner, to pass muster. That attitude is anathema to jazz musicians, who earn their reputations by taking a familiar melody and changing it up.

Serving both masters, then, is an extremely tricky — and delicate — tight wire act.

It’s arguably even harder with Christmas music. Music fans may be impressed by way-way-out interpretations of classic Gershwin tunes or modern pop ditties, but few people are willing to tolerate a cover of Mel Tormé’s “The Christmas Song” that has been deconstructed to the point of obliterating the original melody.

Most of this year’s offerings superbly navigate those rough seas. As you’re about to find out, plenty of great new albums are waiting to enliven your upcoming holiday gatherings.

******

I’ve gone years without any big band ensembles to discuss, and check it out: This year we’re blessed with a bumper crop. First out of the gate is the answer to a longstanding Christmas wish: a holiday album from Gordon Goodwin’s simply amazing Big Phat Band, quite appropriately titled A Big Phat Christmas: Wrap This! (1201 Music).

Dubbing this unit the best and swingingest big band operating today isn’t sufficient praise. These guys don’t merely cook; they explode. The often mischievous arrangements hearken back to Goodwin’s formative years, when he cut his teeth composing and conducting music for the Animaniacs and Pinky and the Brain cartoon shows, back in the 1990s. Since then, new albums by his 20-piece Big Phat Band have been treasured classics the nanosecond they’re released.

No surprise, then, that Wrap This! is every bit as vigorously entertaining. The ensemble bolts from the gate with a marvelously sassy arrangement of “Carol of the Bells,” which showcases the terrific unison horn ensemble, along with an excellent soprano sax solo from Eric Marienthal. A wildly syncopated version of “The Little Drummer Boy” is equally ferocious, propelled by strong percussion (Bernie Dresel, Joey DeLeon) and highlighted by sparkling solos on guitar (Andrew Synoweic) and baritone sax (Jay Mason).

Not all tracks are screamers; the band is equally tight at slower and more deliberate tempos, as with a reverential handling of “Hark, the Herald Angels Sing,” which opens with nice bass work from Trey Henry, features a thoughtful piano solo from Goodwin, and gradually builds to an intense finale. The mid-tempo handling of John Williams’ “Somewhere in My Memory” (from Home Alone) is sweet and wistful, fueled by locomotive-style percussion touches and Goodwin’s tasty soprano sax solo.

“I Heard the Bells on Christmas Day” is old-style swing, boasting excellent solos on trumpet (Dan Fornero) and tenor sax (Goodwin); “Santa Baby” opens with an impish duet on ukulele and sleigh bells, and then builds via rolling percussion and sassy solos on tenor sax (Brian Scanlon) and trumpet (Willie Murillo). “Do You Hear What I Hear” positively races to the finish line, powered by Rich Shaw’s smooth bass work and a terrific vocal from the jazz ensemble Take 6.

The album concludes with a slow, solemn reading of “Have Yourself a Merry Little Christmas,” which features more sublime unison horn work that builds to a screaming climax ... and then retreats to a gentle finale on piano. All I can say is Wow!

Mitchel Forman Trio: Puzzle

BFM Jazz
By Ric Bang
Buy CD: Puzzle

Only longtime jazz fans are likely to know who Mitchel Forman is; I do, because he was the pianist who performed with Gerry Mulligan — in both his big band and the quartet — and, later, with Stan Getz. Those were all great, great units. 

Forman also was part of the cadre recorded on the Live At Newport album from the 1980 Newport Jazz Festival. He has toured with Phil Woods, Freddie Hubbard, Mel Torme, Carla Bley, Diane Schuur and Astrud Gilberto. (It’s worth noting that vocalists love him.) 

Forman assembled the first of his own groups in 1985, and he continues to produce his own albums. This release — which features Kevin Axt on bass, and Steve Hass on drums — is his newest effort.

The operative terms that apply to Forman are swinging, straight-ahead jazz; blazing keyboard speed; precision and tastefulness. Both members of his rhythm section fit in beautifully. Axt, who accompanied Tierney Sutton for years, is one of the best bassists working; Hass is a vocalist’s dream, supporting and never intruding.

The menu includes a dozen tunes: Some are new, but the oldies really stand out. The trio’s interpretation of “What Is This Thing Called Love” is sensational; complimentary melodic lines and meter changes put a wonderful shine on this great standard. “Bounce,” using the chord changes of “I Got Rhythm,” is done at a race-horse tempo that’ll blow your hair back. 

Frankly, every track demonstrates this trio’s talent and cohesiveness.

This definitely is not background jazz, and you won’t be able to take your ears off it. Please ... more, more, more!

Sarah Partridge: I Never Thought I'd Be Here

Origin Records
By Ric Bang
Buy CD: I Never Thought I'd Be Here

Numerous vocalists have become actresses, but I can’t think of many performers who took that trip in reverse. Sarah Partridge is one of those rare examples, and she enjoyed modest success for a decade on TV and the big screen, including an appearance in Risky Business with Tom Cruise. Then fate stepped in: While spending an evening with friends at The Improv, they talked her into participating in a karaoke contest. 

An agent in the audience was enthralled, and signed her up; thus began her musical career.

As often is the case, her love of vocal jazz had begun at home; her father was a huge fan of icons such as Ella Fitzgerald, Chris Conner, Irene Kral and Sarah Vaughan. Fortunately, Partridge has a voice that matches their talents, and that led to her success in what has become a 20-year career.

Partridge is featured regularly at many well-known jazz clubs across the country, and this is her fourth album. She has a wonderfully relaxed voice, which is great for both popular standards and jazz genre tunes. Although her first three releases focused on the American Songbook, she switched gears and wrote (words and music) all but one of the tracks here. The exception — “Around the Corner” — is by Alan Farnham, this album’s pianist, arranger and producer.

He and Partridge are joined by six other excellent musicians: bassist Bill Moring, drummer/percussionist Tim Horner, tenor saxman/flutist Scott Robinson, trombonist Ben Williams, and guitarist Paul Meyers. Partridge’s son, Ben Stein, is guest guitarist on the track “Runaway Train.”

This is a great album for listening or dancing. And if Partridge shows up at a lounge in your area, be sure to visit her.

Clarity: Unhinged Sextet

OA2 Records
By Ric Bang
Buy CD: Clarity

In the beginning, jazz was a “blue-collar” profession. Most artists hadn’t earned more than a high school education; some went on the road without even that degree, although many continued studies after completing their early careers. That isn’t the case today; artist biographies often contain references to colleges and universities that offer advanced degrees up to the doctoral level. 

Consider the sextet Clarity: Every member has one or more degrees, and each is associated with advanced teaching institutions, as a member of the faculty at organizations throughout the country.

Pianist Michael Kocour is an associate professor and Director of Jazz Studies at Arizona State University, in Tempe; he also holds a degree in mathematics from the University of Illinois. Woodwinds player Will Campbell is Director of Jazz Studies and Associate Director of Saxophone at the University of North Carolina. Saxophonist Matt Olson is associate professor of saxophone, and Director of Jazz Studies at South Carolina’s Furman University. 

Trumpeter Vern Sielert has a PhD and teaches at the University of Idaho. Bassist Jon Hamar teaches at Central Washington University, Northwest University, and Edmonds Community Colleges in Washington. Drummer Dom Moio also is on the faculty at Arizona State University, along with a position at Mesa Community College. 

On top of which, all of these guys have worked with many, many name artists.

This, Clarity’s debut album, features a blend of bop and straight-ahead jazz; all concerned excel at it. The 12 tracks are composed/arranged by the various members of the band. With respect to meter, there’s something for everyone: “Unhinged” is a hard bop  flag-waver, and “Watch Out of the Way” is another burner. “Clarity” and “Leaving Soon” are ballads, and the rest are mid-tempo swingers.

The melodic lines are memorable, and the ensemble passages are cohesive. The solo work is some of the best I’ve heard; these fellas are true masters of their instruments.

This is “thinking jazz”: what results when it’s done by artists who’ve spent their lives living with — and teaching — music that they obviously love.

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!

Michael Dees: The Dream I Dreamed

Jazzed Media
By Ric Bang
Buy CD: The Dream I Dreamed

I’ve not reviewed a male vocalist for quite some time, but then ages have passed since coming across one as good as Michael Dees. That’s actually a shame, because he has been around for years; Dees is a “stealth” singer with a quite lengthy résumé, but he simply isn’t well known to the public.

Which doesn’t mean that you’ve not been exposed to him, although likely without being aware of it. Dees had a long career as a studio singer. Back in the 1960s, he appeared on TV’s Steve Allen Show; he recorded an album of his own music; he soundtrack work in numerous films, including the TV movies The Rat Pack and The Mystery of Natalie Wood, along with hundreds of commercials and jingles. For the most part, though, he was singing “other people’s songs.”

This release features his own stuff, both lyrics and music. And it’s excellent.

It may be a bit of a stretch to identify Dees as a jazz singer, but if icons such as Frank Sinatra are so classified, then so be it. Dees’ voice is gentle, warm and smooth, and his interpretation is sincere. He means every line he sings, and his inflections and timing are both jazz-related; whether the style is balladic or up-tempo, he swings.

He also recognizes the value of being backed by excellent musicians. The combo that supports him here features pianist Terry Trotter, bassist Chuck Berghofer and drummer Steve Schaeffer, along with Steve Huffsteter and Sal Marquez on trumpet and flugelhorn, Bob Sheppard and Doug Webb on woodwinds, and Don Williams on percussion. The group is truly jazz oriented, and the arrangements of Dees’ 14 tracks give them plenty of room to demonstrates their prowess.

Most of the songs are love-themed ballads; they come across as a possible biographical history of the singer’s life. The “stories” they tell require clear and understandable lyrics, and Dees certainly provides that.

As an “elder citizen” — Dees is in his 70s — he’s on par with the best singers past and present.