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CD Reviews
Phil Hey Quartet's Subduction Print E-mail
Written by Don Berryman   
Thursday, 13 October 2005
"Subduction leads to orogeny" - old geophysics adage.
Image Subduction, the first CD from the Phil Hey Quartet, was recorded live at the Artists' Quarter on May 13-15, 2005. The word 'subduction' deals with the movement of tectonic plates that is a slow process that can result in earthquakes and volcanic activity. Likewise, music on this CD builds tension subtly and releases that tension in great rhythmic eruptions. The first sounds you hear on this CD is Dave Hagedorn's haunting vibraphone solo that introduces Bobby Hutcherson's Highway One, the last is Phil Hey's turbulent and triumphant drum solo for the final chorus of John Coltrane's Fifth House and the cheers of the crowd. What lies between is a demonstration of musical mastery that each musician has honed and the collaborative chemistry that has kept this band vital over the past 5 years.

Starting at the turn of the millennium, the Phil Hey Quartet has had a regular gig at the Artists' Quarter in Saint Paul for one Thursday a month (and the occasional week-end). I have had the pleasure of attending many, if not most, of those gigs along with a steadily growing cadre of oldsters and youngsters who all feel very hip indeed to have discovered a subterranean hideout where you can hear world-class hard bop for a $3 cover. A feature of these gigs is that they would always play one tune that the group had never played together before, one member would bring in a new tune or arrangement and they'd all dig-in. This process helps them develop a book that is full of great and seldom heard tunes from both obscure and well known writers. One night Tom Lewis brought in a beautiful tune called Floresta written by Brazilian composer Hermento Pascoal which appears on this CD. In addition to Pascoal, Hutcherson, and Coltrane mentioned earlier, there are tunes on this CD written by Charles Mingus, Irving Berlin, Don Cherry, Ornette Coleman, and Phil Hey's original, Subduction.
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“Don’t Go to Strangers”—Come to Vicky Mountain Print E-mail
Written by Andrea Canter, Contributing Editor   
Wednesday, 05 October 2005

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Photo by Andrea Canter
Vicky Mountain doesn't just sing songs, she applies the appropriate vocal style for each one and has the ability to invoke a unique atmosphere for every composition she graces with her voice.” - Criterion Jazz Review


Last winter, area vocalist Carole Martin released her first recording in 30 years. Thankfully, Vicky Mountain only waited a decade. Don’t Go to Strangers, released in early 2005, came eleven years after Birds of a Feather. Noted Vicky, “I wanted this CD to be as eclectic as my performing career; the happy swing and scat, the beautiful ballads, the avant-garde, and a taste of the soulful R&B.” This diverse description aptly reflects the content of Don’t Go to Strangers, and the wide ranging talent of Vicky Mountain.

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Chill 7—“Probable Cause” for Celebration (September 2) Print E-mail
Written by Andrea Canter, Contributing Editor   
Wednesday, 31 August 2005
Image
Photo by Andrea Canter
Chill 7 has been turning heads lately, from the Dakota where the quartet made a limited release live recording last year to the 2005 Hot Summer Jazz Festival bandstand in Mears Park, to their “home” stages at The Wine Bar in Mankato and Lowertown St. Paul’s new French Press Café. Proclaimed by the Dakota as “the future of Twin Cities jazz,” Chill 7 melds modern jazz with funk and jam band music, blending “the improvisation of Coltrane and Miles with the pulse of P-Funk and Soulive” (French Press Jazz Café). I was impressed when I first heard Chill 7 this past spring, enjoying their fresh interpretations of jazz standards and high energy original compositions. With a repertoire of funky renditions of Herbie Hancock’s “Canteloupe Island,” electrified (yet sanctified) ballads such as “My One and Only Love,” swinging standards such as “All of Me,” and their own humor-infused creations, they were indeed “fresh, hip, and on the move” (The Dakota). Reaching for a new level of artistry that will appeal to a wide audience, this weekend Chill 7 will celebrate the release of a new, self-produced recording dubbed Probable Cause. The fun starts Friday at the French Press Jazz Café, 8:30 pm-midnight.


Who is Chill 7, and why is it “7” when there are only four musicians? Bandleader/tenor saxman Josh Brinkman’s only explanation is that at one time or another, the group has gone through 7 drummers. While he and guitarist Michael Burand formed Chill 7 in 2001 and appeared together on the group’s first recording, Big Fish Eat Little Fish (Aquarium Records, 2002), there has been turnover in the bass and drum chairs and the group has appeared with (and recorded with) keyboards as well. Today the quartet includes bassist Jason Swanson and drummer Andy Artz along with Brinkman and Burand. Artz also served as designer, mixmaster, and recording engineer for Probable Cause.

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Richard Luck's Shanghai Print E-mail
Written by Don Berryman   
Monday, 29 August 2005
Image Shanghai is the debut from the young London-born bebop-influenced jazz pianist, Richard Luck. This album features Luck on piano with Kevin Jones on Bass and Matt McDonough on drums performing standards, three Richard Luck originals and a hymn.

Richard Luck performs the songs on this recording with flair and a style that echoes New York of the 50's. Luck's original songs are inventive and even on familiar tunes there are twists and turns to keep listeners interested. This debut CD offering provides a glimpse into what should be a promising future contributing to the world of jazz.

Richard studied at Goldsmiths' College, University of London studying piano and performing with the University Big Band. He began Post Graduate work in Jazz Performance at Trinity College of Music, where he began performing with many ensembles including Trinity College Big Band and the National Youth Jazz Orchestra (NYJO). It was at Trinity College he formed what is now his working trio. Richard spent the best part of a year touring the world on the QE2 and backing up many world-class acts.

Listen to samples from the CD at

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“The Phoenix” Takes Flight: Doug Little’s New Release Debuts at the AQ Print E-mail
Written by Andrea Canter, Contributing Editor   
Tuesday, 23 August 2005
ImageMinneapolis-based saxophonist Doug Little already had his name on three recordings with the Motion Poets when he released his own quartet CD in 2000, Subtle Differences (Touché Jazz). It’s been a favorite of mine ever since, and garnered plenty of good press. Noted Tom Surowicz in the Star Tribune, "Smart post-bop writing, impeccable bandleading and taut, tasty soloing. Whether blue-grooving over a supple fleet beat or whipping out his bass clarinet for a romantic reverie, Little is in complete command and in great company."


It’s taken Little five years to find his way back to the studio—he’s been too busy with projects that have taken the San Francisco native in diverse directions. As a committed jazz educator, Little directs the Twin Cities Jazz Workshop, which provides learning and performance opportunities for young area musicians; he has also been selected to participate in the St. Paul Chamber Orchestra’s “Artist in the Schools” program. For the past four years, Little has collaborated and toured with Italian pianist Giacomo Aula, including appearances at the 2004 Twin Cities Hot Jazz Festival and tours and master classes in the US and Italy. And last fall, Little initiated a new ensemble, Seven Steps to Havana, dedicated to integrating Cuban rhythms with post bop harmonies.

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Lullabies for Children and Adults Print E-mail
Written by Carmel DeSoto   
Monday, 27 June 2005
ImageAs a jazz listener, exposing our children to music that enhances their listening palette and enriches their musical experiences, one can easily find a suited selections within the plethora of wonderful jazz recordings we are blessed with in the digital age. The question is, what about bedtime? Some good choices may be Stanley Turrentine’s Ballads or Karrin Allyson’s John Coltrane’s Ballads, but what if we wanted some good old fashioned lullabies that are not sung by children and break the mold of traditional lullaby selections. The choices are slim to none. This obviously was the plight of Minnesota based Jazz pianist Sean Turner.

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