“Mr. Elling has proved his finesse as a Hartman-like melodist...accessing both Coltrane and Hartman, he sounded like no one but himself.” –New York Times 

Dedicated to You

In 1963, legends John Coltrane and Johnny Hartman issued their landmark recording of classic ballads. In 2009, vocalist Kurt Elling celebrates this collaboration with Grammy winning saxophonist Ernie Watts, Elling’s telepathic trio led by pianist/arranger Laurence Hobgood, and the electrified, electrifying ETHEL String Quartet. Dedicated to You: Kurt Elling Sings the Music of Coltrane and Hartman (Concord), was recorded live in the appropriately elegant Allen Room of Jazz at Lincoln Center, and the result is an intimate reconsideration of an intimate moment in jazz history.

Paris to Cuba

Pianist and composer Mario Grigorov’s 2009 album titled Paris to Cuba (Warm and Genuine Records) conjures up a number of images (some of which are grossly stereotypical) before a single note from the album has been heard. In thinking of the album title, for instance, contrasting thoughts come to mind of how the two destinations have been portrayed in the press over the years. One is often celebrated as a dream destination—a beautiful city filled with beautiful people—while the other has been relegated a place people have risked their lives to escape. One has been regarded as a city full of high-fashion donning, wine-sipping dog lovers, while the other has been marred by its poverty and communist rule.

Even if these adjectives were to be posited as absolutes, which they most certainly are not, what Grigorov is able to bring forth through his work on Paris to Cuba is the realization that the music will ultimately reveal its own truth, even in the midst of preconception, expectation or scrutiny. So how does the journey from Paris to Cuba sound? With Grigorov at the helm and serving as the album’s tour guide, listening to the music reveals that the journey sounds beautiful.

Say It Plain

My first encounter with Scotty Barnhart was in print—The World of Jazz Trumpet, which I picked up primarily as a complement to a more generic  volume of jazz history. Turns out that Barnhart is as adept at blowing that horn as in writing about it, and his music similarly is steeped in tradition yet interpreted through contemporary vision. The Professor of Jazz Trumpet at Florida State University has played 17 years with the Grammy-winning Count Basie Orchestra, and garnered accolades during his tenure with the Marcus Roberts Quintet in the late 80s and early 90s. He has since played and recorded with a Who’s Who in modern jazz, yet his debut recording as leader was a long time coming. That time is now, as Barnhart and his quintet have released Say It Plain (Unity Records).

Shades

Superb bassist, songwriter and vocalist Jack Prather has assembled a fine, mellow group of musicians and vocalists for this wonderful CD.  The ensemble is made up of vocalists Beth Wood, Stephanie Haynes,  Dewey Erney, Steve Wood and Jack Prather (also acoustic bass).  Additional instrumentalists include Leonard Thompson (piano), Ron Stout (trumpet), Keith Bishop (woodwinds), Jerry Kalaf (drums) and Sam Shepherd (guitar). This CD represents some blues, conditions of life and some happiness.  All tunes are distinctively done and delightful as well.   

All the compositions here are by Prather, whose lyrics and the music are quite entertaining.  The CD opens with the title tune, “Shades,” which Prather sings.  Haynes and Prather sing a groovy number, “Don’t Look Now,” one of the best of this CD, in my opinion. Trumpet great Ron Stout is also featured in this classy song.  Haynes sings a beautiful tune, “Suddenly It’s Summer,” in her mellow, smooth, identifiable voice.  

Off the Cuff

A unique sense of harmony, movement and drama has characterized the music of pianist Rick Germanson since his first recording, Heights (Fresh Sounds/New Talent, 2003). Noted Bill Donaldson (Cadence), “Without ostentation and with clearly conceived logic… Germanson makes clear to his listeners the narratives of his music. Indeed, one of Germanson's trademarks seems to be his transitioning between tempos to add interest to his arrangements.” Named “Best New Talent New York” for 2004 by All About Jazz New York, the Milwaukee native and winner of the 1996 Grand Prize in the American Pianist Association Jazz Piano Competition followed in 2005 with You Tell Me, again on Fresh Sound/New Talent. This set of mostly original compositions further highlighted the richly textured ideas of an ever-evolving pianist. Germanson’s more recent itinerary has included extended tours with Pat Metheny and Louis Hayes’ Cannonball Adderley Legacy Band, and finally he found time to record with Hayes and fellow Milwaukeean, bassist Gerald Cannon. Off the Cuff (2009, Owl Studios) is his strongest effort yet.

Mighty Long Way

In a bit of 52nd Street scene (NYC) tabula rasa, Alvin Queen seemed destined to have his life entwined with jazz in some way. Growing up in the Levister Projects (New York) during the fifties, Alvin's father was a jazz devotee, taking him to shows at The Apollo. The familial enthusiasm for jazz combined with the numerous clubs, which dotted the landscape where one could go to see jazz live, made Alvin an early convert.  

His artistic naissance included playing in the school marching band and playing at the age of eleven as a stand-in drummer for altoist Jimmy Hill which, because of his age, required him to be accompanied by an adult. Alvin also needed a chaperone for his next baptism of fire, the annual Gretsch Drum Night held at the original Birdland. Here was where he garnered enthusiastic responses from what now reads like some of jazz percussion's royal court (Elvin Jones, Charlie Persip, Max Roach and Mel Lewis). It was at this event that Alvin would be introduced to Elvin Jones, who initiated the next event in the artistic evolution of Alvin's life, which could definitely be seen as a “consecration” of sorts.