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CD Reviews
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Written by Andrea Canter, Contributing Editor
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Thursday, 05 January 2006 |
The 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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Written by Carmel DeSoto
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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.
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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Written by Carmel DeSoto
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Saturday, 31 December 2005 |
Photo by Andrea Canter
Underwood 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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Written by Keith "MuzikMan" Hannaleck
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Wednesday, 28 December 2005 |
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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Written by Keith "MuzikMan" Hannaleck
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Wednesday, 28 December 2005 |
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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Written by Keith "MuzikMan" Hannaleck
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Wednesday, 28 December 2005 |
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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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Thursday, 04 December 2008
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