WILD WOMEN

I normally wait until an album’s release date to post my comments, but I wanted my readers to know about your new album “Wild Women of Song”, in advance. Pamela I must confess when I received your album last week I figured it was another uninspired vocal jazz album. This year I have received many albums by vocalists. To be honest, they all sound alike, and I figured your album would be the same, and I reluctantly played it.

Pamela, I was wrong. I owe you an apology because I dismissed “Wild Women of Song” before spending quality time with it. I try to be impartial, but sometimes I become frustrated. I’m often inundated with bad recordings. Anyway, you made a solid album. I recommend my readers purchase two copies.If they wear out the first. They will have a back up copy. By the third song I was hooked.

You’re smart not adding an orchestra to the mix. Most of the vocal jazz albums I listened to this year the vocalists were accompanied by orchestras, and they seemed to be jockeying for the listeners attention. I am glad you trusted your voice.

Your choice of instrumentation is worth noting as well. You performed with an organist and a guitarist, putting them together with a small horn section on the title selection “Wild Women Don’t Have the Blues”.I also liked your approach. Listening to “Bruised Around the Heart” and “I’m Not Missing You”, I wondered
if you grew up around storytellers. Your style of singing is conversational. It sounded as if you are singing short stories. You remind me of Sheila Jordan. .

Your decision to perform songs written by women such as such “I Didn’t Know About You” by Peggy Lee, “A Fine Romance” by Dorothy Fields, and “Down Hearted Blues” by Alberta Hunter thrilled me.

I felt as if I attended a history course on forgotten women songwriters. I bet Peggy Lee would have adored your interpretation of her song. Pamela, you’re I fine jazz and blues vocalist. “Wild Women of Song” was part romantic and part blues. You’re able to it both to coexist nicely.

DUET

Dear Kenn,

I saw the ad for “Kenn Cox and Donald Walden Duet at Kerrytown”, a live album you and the saxophonist cutback in 1994, in the Metrotimes. The ad announced therecording would be available at the DetroitInternational Jazz Festival. I planned to purchase the date at Street Corner Records booth, but opening night of the jazz festival Bruce Hutchinson, one of the album’s producers gave me a copy. I’ve listened toit repeatedly since. The album feels as if you and Donald allowed a select group of fans to listen in on a rehearsal.Theplaying on "Duet" is equal to the two fine albums by saxophonist Archie Shepp and pianist Horace Parlan"Goin' Home" and "Trouble in MInd"

Kenn you and Donald were two of Detroit best musicians. Kenn I miss you so much. I listen to your solo on “Low Flame” on saxophonist James Carter’s album “Live at Baker’s Keyboard Lounge” daily. That solo epitomizes your style. You never rushed a solo. You you’re your divided adherence to each note, and you treated the piano with the utmost respect not banging and abusing it as if you despised it. Your fingersmade love to the black and white keys. That attention to detail and reverence showed on “Duet”, especiallywhen you soloed on “Misterioso”.

Walden was the perfect counterpart. In my eye’s, Walden was always a preserver of be bop. Walden was alsoa gatekeeper of Thelonious Monk’s music, understanding the the nuts and bolts of the Monk's music. Thesaxophonist proved the On the two of three Monk’s classics selected for this album “Ask Me Now” and“Worry Later”.

If someone asked me to recommend a Walden composition that shows him at his best, I would point to“Portrait of You”, the ballad he wrote for his wife Marsha Walden. “This Goodbye Could Last a Long, LongTime” would be my contingency recommendation.

I told Walden playing ballads was his hallmark. I always cited Walden's treatment of Monks ballad “RubyMy Dear” on Walden’s sophomore album “A Monk and A Mingus AmongUs” as proof of the saxophonist affinityfor ballads. Walden was a modest musician.

Kenn on “Worry Later” you played as if you figured out how to channel Monk’s spirit. I am sure now you andWalden have settled in heaven. The Detroit and Ann Arbor jazz community miss you guys something awful. Fortunately, people in Detroit such as Bruce Hutchinson, and bassist Marion Hayden who wrote the album liner notes are keeping your music and Donald’s alive.

PRACTICE SESSION

Pianist Gerald Clayton Dear Bud Powell,

I’m Charles L. Latimer. I published this jazz blog. I won’t consume much of your time. You’re probably busy practicing or composing. I want to tell you about this fantastic young piano player. His name is Gerald Clayton. He’s a native Californian. He’s 25-year-old, and his dad is the renowned bassist John Clayton of the Clayton-Hamilton orchestra.

I had the opportunity to hear the pianist last Tuesday evening in an intimate setting. Gerald performed two solo sets in the living room of Andrew and Diane Rothman’s home in West Bloomfield, Michigan. The Rothman’s run an organization call the Detroit Groove Society. They host home concerts. Some notable jazz musicians such as pianists George Cables and Bill Mays have performed in the Rothman’s home.

Andy is a lawyer, pianist and avid jazz enthusiast. Andy is a decent piano player. A few years ago, I interviewed him for an article about his organization afterwards he played a piece of music he was studying.

During the interview he joked that he only pursued law after realizing he did not have the chop to make it as a professional musician. I concluded after listening to him that he would’ve been a good pianist had he stuck with it. I’ve only attended two of their concerts. I must admit the concerts were a classy affair. The attendees thoroughly enjoy the music, and the Rothman’s seem to have a grand time hosting.

Gerald quipped it was the first time he’d practiced in front of an audience. He was
kidding, of course, but I felt he was serious. Mr. Powell, both sets were exceptional. Gerald played as if he’d mapped out the performance months beforehand, performing selections from his new album “Two-Shade” and a handful of jazz standards.

Mr. Powell you should buy Gerald’s album. His influences are obvious. When plays in this dad’s quintet, I recognized traces of Gene Harris’ DNA in Gerald’s soloing. At the solo concert, I felt your spirit in the room coaching Gerald on what lines to play. Like you Gerald's play are sophisticated.

That evening Gerald played, he some ragtime, swing, bebop, and the blues. I heard Gerald twice before. I first heard him on trumpeter’s Roy Hargrove’s album “Ear Food”. Gerald floored me. He never got in Hargrove’s way. Gerald was gracious and treated the piano with respect. He did not beat on it as if he was angry at it. His soloing was concise yet memorable. I’ve been turning friends on to Gerald since at last year Detroit International Jazz Festival.

Mr. Powell if you have some free time check out some of Gerald’s performances on YouTube, track down the Hargrove’s date and listen to “Brother to Brother”. On the latter album, Gerald plays with his dad and uncle. You get an adequate sampling of Gerald’s diversity.

I hate to make predictions. However, when discussing Gerald I can’t help it. Someday he’ll be just as accomplished as his dad who has won a Grammy arranged from the likes of vocalists Nancy Wilson and Whitney Houston. Mr. Powell thanks for giving me a minute of your time. I hope I inspired you to investigate Gerald. I’m sure you’ll discover you influenced him plenty.

Best wishes,
Charles

RIM SHOTS

Kobie,

I promised Terri Hinte, the publicist who handled getting your album to the various media outlets, I’d listen to your new album “Involved” after receiving it months after the official released date. I try to review albums within days of their release dates. However, sometime things don’t happen as I plan. Anyway, I liked your album, and I think you’re a solid young drummer. I heard bits and pieces of the late great Max Roach in your playing. Did Roach influence you? ?

It’s obvious you invested many man-hours listening to the great jazz drummers. Although “Involved” is your album and you had the right to behave in any manner you deemed fit you opted to be an accompanist instead of a taskmaster. You gave the spotlight to your band-mates. I could count the number of solos you took on one hand. I want to commend you for being a selfless leader.

However, Kobie, I have a few issues about the overall feel of the album that I want to bring to your attention. I felt as if the album did not have a defined destination or theme, and you couldn’t decide what kind of jazz album you wanted to make.

In spots, “Involved” felt like a down home acoustic recording. There was times when the it felt too commercial. The album came across as if you wanted to please everybody. "involved"could have been nearly flawless if you had done some editing and pruning here and there.

I must note the album’s shortcomings weren't enough of a distraction for me to dismiss the album. There was more impressive playing than mishaps. For example, saxophonists Geof Bradfield and Jarrard Harris were strong. As they soloed, I thought about how swinger era saxophonists such as Benny Carter and Johnny Hodges sound could fill up a river.

As for your playing, you could've gone hog-wild with meaning and protracted solos,and behaving as if you had something to prove, but you are definitely to mature and refined a drummer and bandleader for such foolishness.You did not make a flawless album,which I am sure you're capable of, but you did make a listenable one.

MY FAVORITE ALBUM

Normally, I wait until the end of the year to reveal my favorite jazz recording. We have less than four month left in this year, and I am confident this album will be number one on my list. I know three months earlier I announced drummer Jeff “Tain” Watts' album would be my favorite for ‘09.After I experienced “The Monterey Quartet: Live a the 2007 Monterey Jazz Festival, I had a change of heart, and Watts’ excellent album got bumped to number two, which is still pretty good given the album was released earlier this year, and I have listened two a ton of recordings
since.

“The Monterey Quartet: Live at the 2007 Monterey Jazz Festival could have been a disaster. Most all-star collaborations are, but bassist Dave Holland, saxophonist Chris Potter, drummer Eric Harland, and pianist Gonzalo Rubalcaba sounded as if they have been performing as a quartet for decades. They clicked on every level imaginable

I wondered if they had a pre-performance pep talk. There was no designated leader on this live session. Each musician contributed equally, and shared the same amount of soloing space. Any of the nine compositions could have been the crowd favorite. Mine was the Rubalcaba original “50”.
His solo was also my favorite, and I believe I set some official record for the number time I replayed the track. He embedded each chord he played into my conscious, and I found myself humming the song's melody at the oddest moment, once during my nightly meditation, and the following day at work during an important staff meeting.

This year saxophonist Chris Potter grabbed my attention, and I currently rank him as one of my favorite players. He possess the ability to sooth the musicians around him. Eric Harland carries himself like a world class accompanist concerned only with making his band-mates look good, which was Harland's biggest contribution. He swings at a medium volume, and you will never catch him grandstanding.

Dave Holland was the most experienced member of the quartet. However, he never once exerted his influence or attempted to baby his band-mates. He made sure they remained on track throughout, and he gave them the necessary support when needed.

One of the things that made “The Monterey Quartet: Live at the 2007 Monterey Jazz Festival such a good live album was the band was able to avoid the many pitfalls of an all-star session, treating the date like a free-for-all jam session. Henceforth,this album should serve as a template of how an all-star session such be.

ROOT MUSIC

I still yearn for the old days, Cyrus, although I admire your new solo album “Spirit”. I admit I grew accustom to you as a swinger. I’ve expressed to you before how much I love your earlier albums you made for Atlantic Records years before they closed their jazz division. After experiencing “Revelation” and the “The Dark before the Dawn”, I became a devout fan, and I introduce my friends to your work. Musically you could do no wrong.

Two years ago, however, I did something I never imagine I would do. I trashed your albums “Genuine Chestnut” and “Cyrus Chestnut Plays Elvis”. The latter recording I genuinely hated. I wondered why you bothered to make such an album. Did you set out to establish a connection between jazz and the kind of pop music Presley made? I consulted some friends, but they could not help. They enjoyed the album.

With your new album, it appears you are trying to find your way back to the Cyrus Chestnut of old. Honestly, although “Spirit” is a sound date, which I would recommend, it doesn’t compare to some of your other albums.I wondered if “Spirit” would have been a great album instead of just a good one if you’d written more original gospel songs such as “Gospel Improv #1”, which is the best selection on the album.

“Spirit” show is you’re still a virtuoso jazz pianist, especially on selections such as “Lift Every Voice and Sing” and “Oh How I Love Jesus”. Although I occasionally questioned your motives, I never thought your skills were slipping.

I like your improvisation on “I Surrender All” and “Old Time Religion”. You strayed from the manner in which these staples were intended to be performed, but you didn’t get too carried away. It was creative how you literally transformed “Come Sunday” into a blues tune. No pun intended, on this album, you played as if the spirit hit you throughout this the album.

REINVENTING THE WHEEL

I've spent more time with your latest album “A Gentle Man” than I’ve with any album I’ve received this year perhaps for all the wrong reasons. I’ve admired your work since experiencing your debut album “Preacher Man”. You sound begged comparison to trumpeters Lester Bowie and Harry “Sweets” Edison.

After I listened to “Preacher Man”, I lost track of your career. I figured you were booted from the record label like other jazz musicians during the early 2000's when record companies closed their jazz divisions, leaving many jazz musicians established and up-and-coming in the lurches.

I received “A Gentle Man” last month I listened to it right away. Lately, I received a ton of mediocre album by trumpeters, and I hoped your album would offer a welcomed change. I have to level with you. I dislike “A Gentle Man”. I listened to it repeatedly for weeks because I wanted to like it. Last week I gave up, deciding to go with my initial feelings.

Rob, honestly, I even contemplated not commenting on “A Gentle Man” because it’s always painful for me to trash the work of jazz musicians I admire. Ignoring the album, however, would’ve been unfair and unprofessional. The publicists that send me albums to review on this blog trust I will do so without bias.

I enjoyed “Honeysuckle Rose”, “A Gentle Man” and the “Look of Love”. The other selections were okay at best. The entire album was placid. Maybe “A Gentle Man” would have been a better offering if you had included some original material. I’ve heard standards you included such as “When I Fall in Love” and “Sunny Side of the Street” more time than I’d care to remember. You did not do anything interesting with the standards, which happened to be your most discernible offense.

Frankly, Rod, you made an album I heard many times. Given your talent, you underperformed big time. Not putting your best foot forward, in my book, is an unforgivable offense. Rod, I hope that you take my comments to heart, and on your next album, you will be more original, and challenge yourself by composing original music, relying less on standards that have been played and reworked over and over