Close musical associates and alto sax players, Jake Fryer and Bud Shank put together a stellar quintet to record in April 2009.  Shank died of a pulmonary disorder the day after this recording session. Their musician partners are pianist Mike Wofford; bassist Bob Magnusson and drummer Joe La Barbera.  Of the nine selections, three are standard classics: “Caravan,” “Almost Like Being in Love” and “Speak Low.”  The rest are originals by Fryer.  Fryer and Shank wanted the date to be played like a gig and indeed it was, with all first takes. 

As booking agent Reggie Mashall says in the liner notes, “In the immediate opening of ‘Caravan,’ we hear that Bud is still Bud in spite of any physical pending problems.  He still had all the fire, passion and his ideas are wholly intact… Jake Fryer solos right after Bud and it is clear that he belongs with musicians of this caliber… Traces can be heard of Bud’s influence, and that of Phil Woods, too…As for Mike, Bob and Joe, they provide sensitive and inventive support throughout, as well as some memorable solos.”       

Fryer is a stellar saxophonist and has earned a reputation as a player to be watched. He has appeared at Ronnie Scotts in London, celebrating part of the Brit Fest and the club’s Golden Anniversary with the group LJC.  He has also played lead alto with the Four Tops, among many other credits.

Standout compositions that I liked in this last CD of Bud Shank and Jake Fryer would be Fryer’s numbers, “Bopping With Bud,” “Agnieszka,” (a pretty serene ballad) and the title track, “In Good Company.”  What better way to make a great recording.  No one would have guessed this would be Shank’s last musical effort.  The benefit was making it with friends, Jake Fryer and the A-Team rhythm section of Wofford, Magnusson and LaBarbera.  Recommended.  See websites: www.jakefryer.com and www.caprirecords.com . 

Reprinted with permission from L.A. Jazz Scene, March 2011 issue.  

Vibraphonist Tyler Blanton gives us a beautiful view and fresh listen on his new CD, Botanic.  This first outing for Blanton is a success!  His partners for this project are Joel Frahm –tenor/soprano saxes, Dan Loomis – bass, and Jared Schonig – drums.  Bassist Aidan Carroll and drummer Richie Barshay also appear on two tracks.  All eight compositions are by Blanton.  His view of the vibraphone is a positive one. He feels there is much area still to be explored with this instrument!  He likes to work without additional lead instruments, such as piano or guitar.   

Blanton grew up outside of Los Angeles and changed from drums to vibraphone at eighteen.  After graduating from Sonoma State University, he moved to New York to pursue his interest in music.  Jazz journalist Josef Woodard describes his music as “sophisticated, swinging and modern in the right ways.”  

The first track, “Already Here,” establishes strong communication within the group as well as Blanton’s unique voice.  As in all the tunes performed, he uses the four-mallet technique and gives a blended blues and advanced harmonics that flow with ease.  “Good Ol’ Joel” produces some lines that keep the lyricism intact.  The title song, “Botanic,” is a pretty and lilting number and employs nice changes.  Other instances of rhythmic, lyrical blending include “Foreshadowing,” “Little Two,” and “Vestibule.” “Mellow Afternoon” grabs attention, making for a peaceful afternoon.  All the harmonies resonate in a very caring manner.   “Hemming and Hawing” drive forward an unorthodox melody with a nice 4/4 time signature in the middle of this piece.  Every tune makes a positive musical statement.  The mixing and mastering of this CD is excellent, providing a perfect listening experience.  Visit Tyler Blanton’s website: www.tylerblanton.net.   Recommended. 

Reprinted with permission from L.A. Jazz Scene, February 2011 issue. Tyler Blanton has 3 southern California gigs in February: Feb. 23rd at Charlie O's (Van Nuys), Feb. 24th at The Blue Whale, (Los Angeles) and  Feb. 25th at Alvas Showroom (San Pedro). 

For the past 15 years or so, pianist Marilyn Crispell has found her niche in the ECM stable as a pianist of magnificent, abstract introspection, in solo or trio contexts. The oddly if ultimately aptly titled One Dark Night I Left My Silent House marks her first duo release and first collaboration with bass clarinetist David Rothenberg; it also marks her first full free-improvised effort for ECM. The two musicians came to the studio with nary a note on paper, and throughout the 13 tracks, offer spontaneous give and take, typically one or the other starting out, taking the first steps that allow his or her partner to enter and embellish. 

The first few tracks offer an overview of the whole suite-like recording, in range of sound and mood: “Invocation” opens with Crispell sounding gentle suggestions, Rothenberg entering quickly with deep tones, like a fog horn warning a lone boat in a dark sea. “Tsering” finds Crispell on both sound board and keyboard, the former creating a backdrop tang and the latter adding gentle lyrics; meanwhile, Rothenberg adds a mournful melody – large wistful spaces remain. “The Hawk and the Mouse” is a more dramatic exchange, Rothenberg “hawking” over the atonal soundboard antics of his counterpart; a video might help explain Crispell’s sound effects, which range from woody scrapings to near-silent knocking to faint string vibrations. Meanwhile, Rothenberg soars and swoops tethered to Earth, mostly well within our lyrical comfort zone. As they reach the end, Rothenberg injects more tension with a repeating line that finally fades.   

“What Birds Sing” is… well, what birds sing! Crispell chirps with jagged phrases from the high end of the keyboard, Rothenberg sings and squawks, the bass clarinet ideally suited to a wide range of birdcalls. Three more tracks suggest avian themes: On “Owl Moon” (the most extended experiment at over 7 minutes), Rothenberg hoots with the higher, standard clarinet over a gentle, gauzy tapestry of Crispell’s most lyrical piano, the duo gradually building a luxurious song. “Still Life With Woodpecker” juxtaposes probing clarinet and the clicky “pecking” of Crispell’s soft attack on the sound board. Like an avant-garde percussionist, Crispell expands her soundscape with rhythmic rattles and scrapes, while Rothenberg plays straight man, beautifully. Cacophony of the delightful sort marks “Grosbeak,” Crispell engaging in Monk-like somersaults across octaves, Rothenberg vaulting across an equally daring sonic range. 

 “The Way of Pure Sound” is Crispell’s percussion playground—a menagerie of gongs, vibrating strings, rattles, sticks, creaks and more, all in zinging contrast to the long deep sounds of the bass clarinet. “Motmot” is one of the more dense experiments, both clarinet and piano expressing themselves across their full tonal range and at times it’s difficult to isolate the source of a given set of notes. The lovely, almost bluesy “Evocation” closes the suite, Crispell suggesting Jarrett and Ravel, Rothenberg the gentle whispering of “one dark night.”  

For Marilyn Crispell and David Rothenberg, music is a conversation without boundaries. 

The duo Hart and Soul came into being in June 2005.  Jennifer Hart and Llew Matthews were asked to sub for six weeks at Brussels Bistro in Laguna Beach, CA, which was the birth of this recording.  This is their first CD and has been a long time in coming.  Both Hart and Matthews have done some of the arranging of the thirteen tunes on this light, airy and very fun project, and many are songs they regularly perform at their club and private party gigs.  Listening to their music is inspirational.   

The band includes Jeff Jarvis, trumpet and flugelhorn; Mark Visher, flute and tenor sax; Barry Zweig, guitar; Bejamin May, bass; Steve Barnes, drums; and, of course, Jennifer Hart, vocals and Llew Matthews, piano.  Hart possesses a pleasing and soft, entertaining voice.   Matthews is a phenomenal pianist to say the least and has been blessed to work in just about every conceivable music situation, able to swing jazz music literally beyond belief!  The rest of the musicians all play very well for this project and have worked many times with Hart and Soul.

The numbers on their CD are very well picked, covering all elements of jazz music.  For example, Hart and Matthews do a duo performing “Straighten Up and Fly Right.” The ensemble backs them to a tee.  Matthews’s own original, “Hey Now,” is bluesy bop number that gets down and makes statements of pure jazz intent.  Ellington’s “It Don’t Mean a Thing (If It Ain't Got That Swing)” moves and grooves, while other tunes, “The Eagle and Me” (made famous by Shirley Horn), “Little Boat” (captures the bossa nova feel very well) and the great jazz number, “Better Than Anything (Than Being in Love)” come to fruition as duos.  The Miles Davis “Four” is given a Latin spiced rendition.  The lyrics are clear and clean.  The closer in this worthwhile project is Leonard Bernstein/Betty Comden/Adolph Green’s famous “Some Other Time.” This CD is perfect for listening anytime, anywhere.  See www.hartandsoul.info or www.CDBaby.com to purchase.

Reprinted with permission from L.A. Jazz Scene, January, 2011 issue.