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“All I know is that there are four beats to a bar and there are a million ways to phrase a tune.” –Anita O’Day (undated Down Beat, circa 1938-39)
 
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CD Reviews
“Square Peg, Round Hole”: Matching Witts With Woody Print E-mail
Written by Andrea Canter, Contributing Editor   
Thursday, 05 January 2006
ImageThe title of Houston-based saxophonist Woody Witt’s new recording, Square Peg/Round Hole (Apria, 2005) implies things won’t fit together! But to the contrary, Witt has assembled one of the most sympathetic collaborations I’ve heard in a long time, one that suggests the best small ensembles of the Coltrane/Davis/Blakey eras. And this should be no surprise given the cast—in addition to Witt on tenor sax, his bandmates include trumpet master Randy Brecker, sublimely inventive pianist David Kikoski, and the dynamic time-keeping duo, Johannes Weidenmueller (bass) and Ari Honig (drums).

Witt deserves wider recognition. With a Doctorate in jazz studies from the University of Houston Moores School of Music, the Omaha native has devoted significant time to educating budding artists as well as playing in such eclectic company as the Houston Symphony, Broadway touring shows, and jazz greats like James Moody, Joe Lovano, and Branford Marsalis. He also manages one of Houston’s jazz clubs, Cézanne. His self-titled debut recording featuring Houston-area musicians prompted Randy Brecker’s compliment, “Wonderful CD--great big sound with much depth, nice tunes, swingin’, everyone is killin’..”

Witt credits Honig’s initiative in bringing the band together, while it’s largely Witt’s compositional chops that give each of 8 tracks the space to soar and evolve. (Brecker contributes the ninth track, the soulful “Dirty Dogs.”) While post bop modernism permeates this music, the compositions nevertheless have a familiar, accessible, melodic framework. Witt reminds me a bit of Joe Lovano—a big mellow sound with elastic tone and color. In fact, all together this ensemble recalls Lovano’s mid-90s quartets with Tom Harrell while expressing its own musical persona.

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Craig Schumacher's New Shoes Reviewed Print E-mail
Written by Carmel DeSoto   
Wednesday, 04 January 2006
Craig Schumacher spent his childhood on the prairies of the Dakotas. Schumacher’s slightly tilting imagination, and his love of music, filled in a lot of the blank spaces surrounding him. By age 10 Schumacher toured, as the drummer in an otherwise-all-girl high school rock and roll band, managed by a priest no less. Despite this auspicious beginning, Schumacher soon took up the more portable and composer-friendly guitar. After spending time in New York and other locales, in 1975 Schumacher settled in Minnesota (the Twin Cities) to pursue music.

Image As a producer and writer, he has worked with acclaimed artists such as Ricky Peterson, Hiram Bullock and The Steeles. Schumacher co-wrote several songs with J.D. Steele, many of which became staples of The Steeles live act. Melanie Rosales' outstanding debut CD, Can't Change It (1999), was produced by Schumacher and featured three of his original songs. Schumacher has also written songs with Tim Mahoney and composed the movie trailer music for the independent film “Bound and Gagged: A Love Story.” Craig Schumacher's debut CD, Live at Creation, was released in 2002. Featuring top Twin Cities musicians, the “live in the studio” recording took a spontaneous approach to Schumacher’s eclectic song list.

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CD Review: Underwood Uncurling Print E-mail
Written by Carmel DeSoto   
Saturday, 31 December 2005
Photo by Andrea Canter
ImageUnderwood Uncurling, is the title of Portland based Belinda Underwood's debut CD. Born to Serena (a jazz pianist) and Don Underwood (a horn player and inventor of the Underwood acoustic bass pick-up) improvisation was a part of her daily nourishment. Underwood studied voice and upright bass at the Jazz School in Berkeley, CA. where she met bassist, David Friesen, during a workshop, and a mentor relationship began.

Underwood opens the CD with "Born to Be Blue," a relaxed half-time swing that compliments Belinda's matter-of-fact Billie Holiday-esque delivery. Bassist, Phil Baker, presents a soulful solo with great intonation and skillful execution. Halfway through the release we stop at Irving Berlin's "How Deep is the Ocean," a cut featuring Underwood as the vocalist and bassist. Underwood delivers steady and consistent bass lines to this straight ahead rendition.

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Tom Tallitsch: Duality Print E-mail
Written by Keith "MuzikMan" Hannaleck   
Wednesday, 28 December 2005
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Tom Tallitsch keeps things on an even keel and uncomplicated with his new CD Duality. The only instruments that you hear on the entire recording are the tenor saxophone of Tallitsch and the acoustic guitar of Dave Manley. Thus, the title Duality sums up what this album is. Even without words, the title implies that there is some duality in everyday life; at least it did for me when I stopped to think about what other meaning it could have related to the music and our human tendencies.


Tallitsch gives 50% of his own compositions then the rest are dedicated to some heavyweights in the world of music, such as Wayne Shorter and Stevie Wonder. Not bad company to keep that is for sure. Shorter and Wonder are worlds apart yet the artist does manage to make the connection to his own realm and visions in a musical sense by interpreting the honored musicians compositions with doses of smooth jazz that melt away the tension of a hard day away in an instant. This is music to relax in front of warm fire with or just to kick back and empty your mind and let the soulfulness of each note permeate your being; it is wonderful if you can let it happen.

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Shannon Janssen: The Keys Of Christmas Print E-mail
Written by Keith "MuzikMan" Hannaleck   
Wednesday, 28 December 2005
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This is the third album I have covered by Shannon Janssen and I am continually impressed and enlightened by her tremendous talent on the piano.


The Keys Of Christmas came at a great time for me the past few days. The stress of certain situations was bearing down on me, and I put this wonderful CD on then suddenly my attitude began to change quickly. Not only did it put me in the holiday spirit, Janssen’s jazz-new age keyboard interpretations of yearly favorites and her own adaptations of seasonal classics was so beautiful and inviting I had to keep giving it a spin, three times in two days actually. When you hear something that is healing and spiritual you want more, it is natural to feel drawn towards the light to put a smile back in your heart.

Once again, Mark Vincent Pence is on hand to lend his expertise to the recording process. His orchestrations are the sweets for the sweet as they say. Pence is a real pro that compliments the artistry of Shannon Janssen in just the right way. That slice of heaven that Janssen is so adept in relaying in her music finds the perfect partner in well-timed orchestrations.
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Brent Magstadt Print E-mail
Written by Keith "MuzikMan" Hannaleck   
Wednesday, 28 December 2005


Image I have a problem-There is so much good music on this CD I am perplexed where to start. I loved every track.

Brent Magstadt is a multi-tasking musician in the studio and his self-titled album documents his brilliance. He plays everything from soup to nuts, well actually the acoustic and electric guitars, bass, percussion & bamboo, along with some spirited vocals that reminded me of Tommy Shaw during the vintage Grand Illusion period of Styx. After I listened to album for the first time, I asked Brent if he was a Styx fan and he responded with a resounding yes!

This is not an easy task to explain everything that is happening on this album, let me just say that there is a multitude of genres bubbling in this musical stew. To make it a little more clear I would have to place it all squarely in the jazz-rock-fusion arena, although if you listen enough you will hear other influences creeping in, like blues and world to name a few. How many CDs have you heard lately that have a didgeridoo on it? (I love the name of that instrument! It sounds like something that you would find in Dr. Seuss story) Check out “Simple Thoughts.”
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