MASTER SWINGER

Claudio, we've never met. Allow me to introduce myself. I'm Charles L. Latimer, the brains behind this jazz blog. I'll try to be brief. A few weeks ago, a publicist from DL Media sent me your new album "Simpatico". I'm glad they did. I had a ball listening to it. In fact, I'm playing the alubm right now. The band has just wrapped up "Alberto and Daisy" one of the catchier cuts on the recording. Guitarist Romero Lubambo solo made my ears dance. You assembled a slamming sextet. I have to level with you, Claudio. "Simpatico" was the first time I heard you play. The album’s press release stated you're a master arranger and gifted trumpeter. After I’d finished my second helping of the album, I knew that wasn’t fluff. Throughout, you handled yourself like a master musician. Last year, you received a Grammy nod. I'm sure it was well deserved. (I wouldn't be surprised if the academy nominated "Simpatico" this year.) Right away, I could tell you worked with the musicians on this date for a long time. The camaraderie was as visible as a stop sign. Claudio, the album had only one flaw.The string instruments on the ballad "Slow Fire" was excessive. The strings disrupted your solo. The ballad would've been fine with just you pianist Helio Alves, bassist John Lee, and drummer Duduka da Fonseca. “Simpatico” appeared to be a Brazilian jazz album on the surface, but it's actually a straight up acoustic jazz date. It was nifty how the band tossed the melody back and forth on "Blues for Ronni” like a volleyball. "Piccolo Blues" was my favorite cut. I heard the Piccolo is a tiny trumpeter-smaller than the pocket-and difficult to play. According to the press release, you don’t play that horn often. You would have a tough time convincing the most astute jazz fan of that. I thought you invented the darn thing. You sounded that good playing it. I bet you could make a garden hose sound like an instrument. Let me stop. I could boast about this album endlessly, but I promised to be brief. As I mentioned earlier, I'm still playing the album. Right now, Fonseca drum solo on "Slammin" is begging for my undivided attention.

JAZZ POETRY

I couldn’t tear my ears away from your new album "Heart Plaza". Sheila,I was crazy about it after the first listen. I felt as if I was spellbound by a great poet. I've admired you for many years. I consider you one of the top jazz vocalists working. Sheila, on "Heart Plaza," you took risks, and you succeeded. You sung poems written by some of your favorite poets, and keeping the arrangements simple was smart.

The tricks you did with your voice was cool. On "My Heart Goes Out," for example, transforming your voice into a trombone was slick. I wonder how many jazz vocalists can make their voice sound like a muted trumpet at will like you managed to do on "Bag Lady". "The "Duke, your homage to the great bandleader and composer Duke Ellington, would have made him blush if he were alive to hear it.

You have the perfect musical companion in guitarist Rick Matle, who's soulful, white-collar guitarist. Matle is a sensitive accompanist, and he deserves recognition. The man is just as good as his peers guitarists Pat Metheny, and Bill Frisell. On "Trampled Heart," his playing melted on your voice like butter over hot cakes.

Sheila, I receive albums from jazz vocalists all the time. Most are the same. The vocalists seem afraid to venture. They only offer albums loaded with familiar oldies. I don't understand their reluctance to perform new material. You aren't afraid to shake things up, and I commend you for that. Sheila,"Heart Plaza is a wonderful spoken word jazz album.

KEY TO THE CITY

Bassist, bandleader, and composer Christian McBrideI'm not much for making predictions, Christian. I feel confident, however, making one that I'm sure other jazz fans would agree with. When the new jazz history books are written, about the accomplished musicians of your generation, you will be talked about not only as a first-rate bassist but also a gifted composer. I will bet money on that. At the halfway mark of your career, you're writing compositions and suites that are just as good as those written by Oliver Nelson, Horace Silver, Wayne Shorter and Duke Ellington. Christian, I dogged "Kind of Brown," your debut album for Mack Avenue Records. I'm not trying to make amends by comparing you to those great jazz composers.

Sunday, evening, I attended the concert The Movement Revisited: A Jazz Opus at Second Ebenezer Church. And like the majority of the capacity crowd, I was blown away. The suite you composed with the help of recording artist and record producer J.D. Steele commemorating the legacy of Rosa Parks, Malcolm X, Martin Luther King Jr. and Muhammad Ali was remarkable. I don't know if I was stricken with the Holy Ghost because I haven't been to church in three decades, and I wouldn't recognize the Holy Spirit if it whacked me upside the head. All I know was during the second and third movement I felt a strong urge to dance up and down the isle flailing my arms, but I managed to contain my composure. I didn't want to embarrass myself.

Anyway, Christian you did a fine job and your working band Inside Straight blended perfectly with the Majestic Voices choir. I set next to your pal Terri Pontremoli, the director of the Detroit International Jazz Festival. When vibe player Warren Wolf soloed, Pontremoli grabbed my lleft arm and said: That guy is a monster. I agreed unequivocally. And the same should be said about saxophonist Ron Blake, who in my humble opinion is the best saxophonist on earth. Blake has the complete package. The crowd cheered after his solos like they were inside a jazz club instead of a church.

Christian, I wasn't going to mention the concert started almost 45 minutes late. However, it wouldn't be right commenting only on what I enjoyed, and ignoring what annoyed me. Bishop Edgar L. Vann II, ticked me off delaying the concert while his ushers passed around collection plates. Hitting people up for a donation at a free concert was tacky. Walking to my assigned seat, I wondered what the gold buckets hanging on the benches were for. They looked like Kentucky Fried Chicken buckets dipped in gold. Later, I discovered the buckets were the collection plates. Christian, I wondered if Vann II was joking when he said the preacher has to get his money first, or if he was serious.

Once I thought about becoming a Christian, but I decided not to. It cost too much. I can't afford to fork over 10% of my earnings. I wonder if nowadays, if you have to have a certain credit score to join a church. There's this palatial church in Southfield, MI that will not baptize you if your credit score is under 700. Christian, I'm probably bound for hell criticizing Vann II. I accept my fate. I hear there are better jazz clubs in Hell. Vann II, on a positive note, did a great job of portraying Dr. Martin Luther King Jr. In fact, he was the best of the four narrators. The cat that portrayed Malcolm X was miscast. The narration was overkill. Without it the performance still would've been powerful.

Christian, at some point, you should be given a key to the city of Detroit. Whenever, you come here, you bring something wonderful. In 2008, you did a fabulous job as the Artist in Residence for the Detroit jazz fest. The following year, you unveiled your knew band Inside Straight, and became one of the most accomplished musician and bandleader signed to Mack Avenue Records. I anxious to see what you have in store for us the next time you come to Detroit.

REAL JAZZ

It's been a long time since I've heard a real acoustic jazz album. I figured in this day and age it's impossible to make one. Antonio, with the release of your new album "Lagos Blues" you proved making an authentic acoustic jazz album is feasible and enjoyable as well. DL Media-the company that handles PR for the record label you're signed to-sent me this album last month. I liked the album right away, and I planned to review it. But, I got sidetracked. Paul Sipio of DL Media emailed me a few days ago wanting to know if I'd listened to your album, and if I planned to comment about it. Yesterday, I finally found the time to give the album my undivided attention. "Lagos Blues" is a wonderful album. It was clever using two tenor saxophonists Steve Grossman, who captured the public eye playing with trumpeter Miles Davis. Grossman is at top form on your album. He still has a rich and voluptuous sound. Stacy Dillard is impressive as well. If you hadn't already put him on the payroll permanently, you should because to the man can blow. Your album probably wouldn't be as good as it is without his contribution. So rewarding him with full-time employment status is reasonable and deserved. Actually, Dillard sounds as if he studied with Grossman for years. Like Grossman Dillard's tone is massive. And he knows a thing or two about playing a ballad. I salute you for not being over-protective with your sidemen, and giving each room to stretch out. Not many bandleaders would be okay with their sidemen outshining them. I don't have a favorite track. I enjoyed each tune you chose for the album equally, particularly when you soloed on "Reflections In D/Sentimental Mood. It was tender and it sounded as if your fingers were crying as they glided across the piano keys. Antonio, "Lagos Blues" is the first real jazz album that I"ve listened to in a long time.

HIGH SCHOOL SWINGERS

Dear Duke Ellington,

Last night, at the Main Arts Theatre in Royal Oak, MI. I attended a screening of Bruce Broder's documentary "Chops". Broder followed the Douglas Anderson High School of the Arts jazz band in Jacksonville, Florida as they prepared for the prestigious "Essentially Ellington" competition, which is held yearly at the Lincoln Center for the Performing Arts in New York, The jazz musicians at Douglas Anderson are something to behold. They were enthusiast and attentive, The students embodied a genuine respect for your musical legacy, and they were serious about mastering your music.

The students weren't cocky or undisciplined at all. They encouraged each other. They horsed around some, but when it was time to practice, they were all business. Their humility amazed me. They always felt they could play better. TJ-a trombone player and the most polished and talented of the bunch-said he practices religiously because he wants to be an exceptional musician not a mediocre one. That was the mindset of the youngsters as they learn your music.

Duke, Douglas Anderson had some stiff competition. Battle Ground High School and Garfield High School, two bands from Seattle were formidable. They'd competed at "Essential Ellington" before, and they appeared to be more confident. However, they were robotic and they couldn't improvise. Douglas Anderson had an edge. They were taught to infuse the music with their emotions, and they spent a lot of time learning how to swing thanks to Ron Carter, a Duke Ellington clinician from the Lincoln Center, The school hired Carter to teach the band the mechanics of swing. Carter broke down the basics of swing and fed it to each student like Halloween candy.

The day of the competition, Douglas Anderson was still not sure they could wipe out the competition. Duke, they did, and you would've been proud of them. They were the last band to perform. While the other bands played, they watched from the audience. The pressure was on. Douglas Anderson didn't buckle. They played your blues "Black & Tan Fantasy". It was a brave move to play a blues when. The other bands played your swing tunes. Here's the thing that floored the capacity audience and the judge, which include trumpeter Wynton Marsalis: midway through the blues Douglas Anderson through in a chunk of the ditty when the "Saints Go Marching In" The audience went ballistic. After their performance, the late 60 Minutes anchor Ed Bradley said Douglas Anderson who more polished, and had better solos. Bradley was certain they were going to win the competition. Duke, they won hands-down.

It's hard to make me cry, I don't cry at funerals, but when those kids from Douglas Anderson finished and the crowd cheered like they're at the Super Bowl I became unglued. Broder did a wonderful job chronicling how music and dedicated teachers who believe in their students can bring out the greatness in them.

Thanks for the music,
Charles

RISKY BUSINESS

The first time I listened to "For the Love of You", your new album, I didn't care for it., and I contemplated telling my reader's to stay away from it. Sunday, I decided to listen to it again thinking I may have rushed to judgment. I played it most of the day, and again Monday evening. Joe, I'm on the fence. You were brilliant throughout, particularly on "Bright Side Up". I thought you played two vibraphones simultaneously on "Cinema Paradise". You assembled a tight-knit band pianist Geoffrey Keezer, bassist George Mraz and drummer Clarence Penn. The album could've been magnificent with just the four of you. You took a big risk including Kenny Washington. It backfired. Proven bandleaders, which you are, like to take chances. That's admirable, but this time around, you should've been conservative. Gambling on a vocalist didn't work out. In the past, some critics compared Washington to Nat King Cole and Donny Hathaway. I couldn't detect their influence when Washington sang. He's an okay singer.However, comparing him to Cole and Hathaway is way off base. On the love songs "For the Love of You" and "The Shadow of Your Smile", for example, Washington was unconvincing. He didn't sound as if he felt the lyrics. Joe, midway through the recording, I wondered if you knew for sure the kind of album you wanted to make. I wondered if you plan to make a jazz vocal album, an easy-listening album, or a mixture of both. Anyway Washington wasn't a good fit. His style is more appropriate for a church choir. Last year, you test-drove the group at Dizzy's Club Coca-Cola in New York, and the concert was a big hit. Maybe live is the best situation to experience the group.

GENE HARRIS DOES LONDON

In 2000, you were scheduled to perform at the Michigan Theater in Ann Arbor, MI. Back then, you're my all-time favorite pianist. You had two styles playing loud like a cannon, and soft like your fingers were stuffed with feathers. I spent a lot of time listening to your albums "Gene Harris at Maybeck", "Black and Blue", and "The Gene Harris Trio Plus One". I wore out three copies of the latter. So when I heard you're performing in Ann Arbor. I planned to skip work to attend the concert. The promoters canceled because you died. Of the jazz pianists I've listened to, I admired your music the most. You could make me dance one moment and cry the next.Last week, Resonance Records sent me "Another Night in London", a live album you made in Englandin 1996. The album is part of the Resonance Records Heirloom Series, which issues unreleased recordings by noted jazz musicians. Bassist Scott Lafaro album “Pieces of Jade” was the first album released. Your album was the second. Do you remember making it? You played with guitarist Jim Mullen, bassist AndrewCleyndert, and drummer Martin Drew. "Another Nights in London" is a terrific live date. It's lean. There're only six selections. Most are standards, but you give each a blues and gospel twist. On "Sweet Georgia Brown", you made the piano howl. On "Meditation", your gentle side took over. You played softly like the piano keys were silk. Listening to the album, I felt as if I were at the concert absolutely spellbound by what was happening on the bandstand.