Bill Coon and Oliver Gannon ©Brian Nation

Larry Martus, Transcendence (2005, Omnitonic Records)

Nate Brown, North Country Mile (2006, Copycats)

Mark Kleinhaut Trio, Holding the Center (2006, Invisible Music)

Bill Coon/Oliver Gannon, Two Much Guitar (2006, Cellar Live)

Maybe I have not been paying proper attention but is seems there’s a plethora of new jazz guitar releases. Recently I have come across a handful from artists who seem to fly under the national radar, winning accolades in their home territories but not much print recognition or air time. And while there certainly are “household names” among contemporary guitarists within the jazz community—Jim Hall, Pat Metheny, Pat Martino, John Abercrombie, John Scofield, Russell Malone, Mike Stern, Larry Coryell and more, there’s a lot of great guitar that gets little notice. And as far as I’m concerned, there’s never too much guitar.

The recordings briefly reviewed here fall on the lyrical, acoustic side of modern jazz guitar, ranging from a solo debut (Larry Martus) to guitar-led trios (Nate Brown and Mark Kleinhaut) to a double guitar quartet (Bill Coon/Oliver Gannon).

Larry Martus: Alone on Transcendence

Based in Los Angeles, Larry Martus boldly goes solo for his debut recording, even more boldly featuring an all-original playlist. Martus has been playing guitar since age 11 after first experimenting with trumpet and other instruments. Initially studying classical guitar, he was drawn to the music of Pat Metheny, John Scofield, John McLaughlin and Al DiMeola, and later Wes Montgomery, Grant Green, Kenny Burrell, and Joe Pass. As a student at the Berklee College of Music, Larry encountered John Coltrane, Wayne Shorter, Bill Evans, Charlie Parker and more, and it is the collective influence of these muses that informs his compositions and approach to performance. Transcendence unfolds like a series of 14 small dioramas in a single exhibit, each offering a subtly different perspective drawn from a single and gentle world view. Martus’ classical/acoustic upbringing shines throughout, as do the ghosts of Joe Pass and Bill Evans, creating an album of luminous passion and harmonic elegance. The recording itself has the intimacy of a private listening room, or as Martus notes on his website, “If you close your eyes while listening to this album, you may feel like you're right there in the middle of the recording session!” The equipment varies from low to high tech, but Martus has an all-acoustic heart.

Martus is somewhat of a gearhead, recording Transcendence with a range of tools from a nylon-string acoustic on the classically shaped, luxuriously circumspect “Adagio” to the 21^st century equipment used on the melodically shifting “Soliloquy,” thickly woven, rhythmically engaging “Prizm” and counterpointellist upper, “All Things in Time.” Delights abound on the remainder of the album, brought to life through a variety of mostly older Gibson and Fender gear. “Until Then” is a sweet ballad begging for lyrics; “Extensions” has a more contemporary, Metheny-esque sound, a more spare structure with chiming reverb underlying the series of improvisations; “Quixotism” tilts at sonic windmills with playful dexterity; “Ins and Outs” feels like a boppish reconstruction of a tune from the Great American Songbook with some daring runs; “Song for Christine” has a back-country flavored melody pushed along by bassline phrases; “Window of Your Soul” might be retitled “Window to Larry’s Soul”, its reflections revealing layers of the composer’s vision. Indeed, the suite as a whole mirrors the soul of a poet working with aural watercolor rather than words.

This is an auspicious debut from a gifted composer/performer who undoubtedly has a lot more to say.

Nate Brown: Traveling the North Country Mile

I’m sorry to say I never heard Nate Brown when he was based in the Twin Cities, and now, as a New York area transplant, his busy Broadway schedule (particularly, playing for the upcoming production of Mary Poppins) is keeping him from a local celebration of the release of this charming trio CD. A native of Alexandria in outstate Minnesota and graduate and one-time faculty member of McNally Smith College in St. Paul, Brown released his first group recording five years ago and a solo venture in 2002. Over the past four years, Brown has played banjo, mandolin and ukulele for a touring company of Chicago, and guitar and lap steel for the traveling troupe of Swing. Before making the move to the east coast two years ago, he played with several Twin Cities’ jazz ensembles (including the Hornheads).

North Country Mile, as the title may suggest, seems to be a return to his Midwest jazz roots, and a most welcome “homecoming” it is. Pulled together largely to showcase an the custom “Skyline” guitar built for him by Dale Nielsen of Nielsen Guitars of Duluth, MN, this recording finds Nate in the company of stellar Twin Cities-based magicians of bass and trapset, Anthony Cox and Jay Epstein; hand percussionist Aaron Barnell appears on three of the nine tracks. Not even in the Big Apple could Brown ask for better collaborators: Anthony Cox’s reputation extends globally, as the Minneapolis resident/McNally Smith instructor spent his professionally formative years in New York and on the international touring circuit, playing and/or recording with the likes of Elvin Jones, David Murray, Henry Threadgill, Sam Rivers, Dewey Redman, Joe Lovano, John Scofield, and Geri Allen. Drummer Jay Epstein has stayed closer to home, a long-time member of the Phil Aaron Trio and first-call timekeeper for area vocalists and a wide range of ensembles. Aaron Barnell, with extensive training in a variety of world percussion instruments, teaches world percussion at McNally-Smith College in St. Paul.

With the exception of Pat Glynn’s “Union,” the recording gives testimony to Brown’s skills as a composer as well as performer, including 8 original compositions. Overall the structures are largely modal with flowing lines over assertive bass textures and shimmering percussion, with nods to Pat Metheny and Jim Hall, but the leading hand clearly belongs to Nate Brown. The opening title track is built on repeating phrases, laid back noodling guitar over a fine wash of Epstein’s cymbals and subtle percussive fills, and Cox’s rich basslines. A more upbeat pulse with a hint of blues appears after the first two minutes, and the pace accelerates as it moves toward the final note. The last track, the solo “Omni Car” (“inspired by the mind and thoughts of Anthony Cox” notes Brown) feels like a companion to “North Country Mile,” with repeating tones that vary in pitch, creating a reverberating echo.

In between, the pace varies. “Port Authority” might be renamed “Bass Authority” as Cox provides counterpoint to the guitar’s looping lines and an intricately exploring solo. “Skyline” (presumedly named in honor of Brown’s new custom guitar) swings more toward bop than modal (more in the vein of Wes Montgomery or even Emily Remler), with a wonderfully angular undercurrent driven by Cox and Epstein. “Intro/Emulsion” has two distinct segments, initially a slow moving set of elegant verses that becomes a more complex midtempo modal swing with some extraterrestrial pedal effects.

The remaining tracks take the listener on a float trip in rural backwater, or, if truly a fantasy ride, drifting through a distant galaxy of stars. Brown uses his electronic gear to good effect on “While It Lasted,” producing a hymnal tone poem with Barnell popping and clicking on his claypots--just enough to keep it out of church, while Epstein keeps the cymbals active but far in the background like a distant choir of crickets; a marvelous solo from Cox adds to the rustic reverie. “Wake” is a classical mesh of polyharmonic tones and gentle movement that bends and revolves from an internal starting point, sending musical ideas outward; Barnell and Cox play off each other in a subtle dance. Based on the changes of Bill Evan’s “Time Remembered,” “Another Time Remembered” features a dark and gorgeous bassline. The only tune not penned by Brown, Pat Glynn’s “Union” fits into this set perfectly, a languid poem taking the listener on a ride through a galaxy where there is no gravity. The celestial effects here are due in no small part to Epstein’s rippling cymbal wash and the counterpoint of Cox’s bassline, and to Brown’s various electronic strategies that create a small symphony.

I’ll eagerly await Nate Brown’s next homecoming.

Balancing Act--Mark Kleinhaut Trio

I was unfamiliar with Mark Kleinhaut until I received his newest recording, Holding Center (Invisible Music), which means I missed four earlier releases. Now I feel compelled to track down the others in order to fully appreciate the depth and breadth of this virtuoso performer and composer. With a career spanning more than 30 years in and around New York and Maine (where he lives), Kleinhaut’s mainstream roots encompass the traditions of Wes Montgomery and Pat Martino, branching out into Metheny-land, bossa, electronica and beyond on his latest CD. Holding the Center features Kleinhaut’s working trio, with Jim Lyden on electric and acoustic bass and Les Harris, Jr. on drums and percussion.

All thirteen compositions were penned by Kleinhaut, and the title “Holding the Center” not only represents the fourth track but also reflects the range of the recording as a whole—seeking to balance balladic mainstream offerings such as “Holiday” and “Logical Extension” and the bluesy “Gospel of B” with the world rhythms of Cuba (“Sister Cuba”) and Brazil (“Shells on Ancon Beach” and “Passing Bird”), the deep funk of “Baby R” and “Erika’s 8:30 Rule” and the downright rock infested “Rock and Sand.” Along the way there are some interesting experiments with loops and synthesizers (the title track and “Forgotten Song”) and rhythmic excursion (“Green T”).

Kleinhaut is comfortable at all tempos and rhythms—both as writer and performer, showing a wide palette of color and harmony. He opens the recording with an intro to Sister Cuba using a nylon-string Cuban-made guitar that he found in Havana, and recorded sounds of children playing in Trinidad, Cuba, where he traveled in 2004. The result is that you are already in Cuba and primed for the pulse of clavé and poppin’ guitar when “Sister Cuba” gets underway. The track has an underlying American swing, and Kleinhaut’s phrases are so quick and harmonically rich that you wonder where that second guitar is hiding. South of the border rhythms reappear on the gently flowing bossa, “Shells on Ancon Beach.” Here Harris’ rhythmically elegant percussion floats in the background while Lyden offers counter melody as much as a supporting bass pulse. Kleinhaut’s soft touch evokes a wave-washed beach and tender breeze. “Passing Bird” is a tightly woven samba with an infectious melody, laid-back percussion from Harris and supporting electric bass from Lyden. Over the course of the track, Kleinhaut increases the complexity and assertiveness of his lines, ready to bring this music to the dance floor.

“Baby R” takes the listener from Cuba to funk. With Kleinhaut bubbling somewhere between Charlie Hunter and Pat Metheny, the bass and drums give this one a hard-hitting back beat, and Harris particularly drives and grooves. Harris also sells the funk on “Erika’s 8:30 Rule,” which is one of the most inventive tracks, complete with background loops of ringing telephones and operators, and oddball turntable scratchings provided by Andrew Zachary that resemble the squeaks of rewinding tape. To me this diversion is alternately annoying and amusing; wisely Kleinhaut limits this strategy to the one track. Jason Moran incorporated a similar tactic on Same Mother.

Electronic wizardry, loops and samples are employed to interesting and musical effect on several other tracks including the title tune. “Holding the Center” features ethereal Metheny-ish looping, and Lyden contributes some dazzling, buzzy arco passages. There’s a bluesy thread taking the listener on a lazy float trip down a slow moving, backcountry stream, and Kleinhaut creates a lush garden of sound. On “Forgotten Song,” Kleinhaut uses synthesizer as a background canvas ready for the trio’s paint. There’s some darkly sweet bass work from Lyden and tittering watercolor brush from Harris. While technically a ballad, Kleinhaut nevertheless embellishes with his articulate, faster-than-lightning phrases.

More straight-ahead tracks unapologetically fill much of the rest of this recording, and they swing joyfully. “Holiday” has the feel and sound of a jazz classic, somewhat reminiscent of “Softly As In a Morning Sunrise.” The trio explores as a fine tuned unit, Kleinhaut hurtling ahead like a locomotive that picks up steam and speed along the way, and you can just imagine the fingers flying. Harris takes a midpoint solo that matches the guitar’s energy, adding a shimmering cymbal passage; then it’s Lyden’s turn to offer a frenetic wide-ranging solo blending back into guitar theme. The harmonies are delightfully off center, giving the tune interest and drive. “Logical Extension” also has a classic jazz guitar sensibility with an elegant single line; the bass and drums hold a conference that illustrates their sympathetic partnership, Kleinhaut ultimately retracing the theme with a more chordal outchorus. His touch is magical. “Green T” features quirky rhythms and chords, a linear composition with hints of Monk. Lyden provides a solid walking foundation and a melodic acoustic solo with a winsome glissando. Harris trades off with Kleinhaut, his crisp popping snippets a perfect foil for Kleinhaut’s bubbling and sliding fingers, themselves a mini-percussion unit. The bluesy melody of “Gospel of B” is carried out by Lyden (on acoustic bass), with initial harmony provided by Kleinhaut’s gentle background fill. Taking the lead midway, the guitarist kicks up the blues flavor several notches, and by the outchorus sounds ready for a night at the House of Blues. Lyden takes back the melodic lead for the closing segment and ends in tandem with Kleinhaut.

I confess that I really dislike the last track, “Rock and Sand.” Fans of good rock (that excludes me) will disagree, I suspect, and if nothing else, this one illustrates the wide range of this trio. When I was first listening to this CD on the car stereo, I found myself hitting the “next” button whenever this track began. By modern rock standards, this is probably quite tame. For me, it was gratifyingly short at 2:23. If I transfer this recording to I-Pod, I’ll stop at track 12, thank you. On the other hand, I think tracks 1-12 are among the most satisfying of 21^st century guitar in my library, and I’ll hit “repeat” often.

Bill Coon & Oliver Gannon: Two Much Guitar in Vancouver

Unlike a string quartet with two violins, the double guitar quartet in jazz is less common but a similar opportunity to enjoy two voices that complement rather than compete with each other. Bill Coon and Oliver Gannon are two of Canada’s most popular guitarists, straight-ahead partners in a duo that is reminiscent of the great pairing of Herb Ellis and Barney Kessel. Crowned “king” of Canadian guitarists, Gannon has a number of recordings to his credit including a 1998 Juno Award for a duo recording with the late Fraser McPherson and Live @ The Cellar (2002); he was named Canadian Guitarist of the Year in 2002. Bill Coon has studied with Jim Hall and was a long-time member of the Andre White Band in Montreal. After moving to Vancouver in 1995, Coon worked extensively with Denzal Sinclaire. He’s also previously recorded live at The Cellar with his trio, including Darren Radtke and Dave Robbins (Speakeasy, 2002).

Two Much Guitar is anything but—backed by Coon’s previous partners Darren Radtke on bass and Dave Robbins on drums for five of the nine tracks, this live recording from the Cellar Live label (taped at Vancouver’s Cellar in fall 2005) brings a modern swing to standards and jazz classics, along with an original composition from each of the guitarists. The minimal electronics creates the sound of a true acoustic ensemble, and in fact three tracks are simply duets among Coon and Gannon. The cover tunes are contemporary yet timeless renditions of familiar fare, the double guitar ensemble giving them a new twist and plenty of propulsion. Often Coon and Gannon trade solos as if two horns, one taking the lead and the other dropping back in a comping role. “Chi Chi” (Charlie Parker) is a very swinging tune with well placed chord fills. The alternating round and sharp lines of the two guitars bring energy to the well-trod Kern standard, “All the Things You Are,” the nine-plus minute track allowing all to stretch out. The harmonies of the two guitars lift this above the usual rendition as they get into a near- echoing duet enhanced by the additional bassline and a grainy solo from Radtke. Robbins is subtle but ever-present; and the track concludes in a lovely dual-guitar counterpoint. On “Have You Met Miss Jones,” the Rogers and Hart classic receives a swinging quartet effort with some fleet fingering runs that pop and crackle and fine interplay among bass and drums.

Bill Coon and Oliver Gannon ©Brian Nation

Coon and Gannon present three ballads as duets: “Polka Dots” (“Polka Dots and Moonbeams”) is essentially a sonata for two guitars, starting with a bouncy intertwining of the two guitar lines. A more gentle section follows, then another segment with more staccato lines; the final chorus has a more swinging tempo. Another VanHeusen vehicle, “Darn That Dream,” starts with one guitar leading the melody while the other sits back and provides a bassline; they trade roles on the next verse, a formula that works well throughout. On Tadd Dameron’s “If You Could See Me Now,” the guitars sing like two vocal partners, adding lush sweeping chords.

The two original compositions are studies in contrasts. “Zattitude” by Bill Coon has a funky, soulful beat, a bluesy delight with kicking percussion; it seems that there should be some snappy lyrics! Robbins’ drum solo here is his most enjoyable effort of the set, with its dry ripples on skins and cymbals. “So Nice” is Oliver Gannon’s contribution, featuring an insistent walking bass and gently driving drumkit backing a bubbly melody line that recalls Wes Montgomery. The piece picks up steam as it rolls along, the two guitars not really dueling but playing off each other, upping the ante; Radtke has a zippy solo while Robbins sets off some of his own fireworks as the guitars and drums get into a call and response pattern. And it’s never “too much” guitar!

More information on these artists is available online: Larry Martus (www.larrymartus.com); Nate Brown (www.natebrown.org); Mark Kleinhaut (www.markkleinhaut.com);Bill Coon (http://billcoon.com); Oliver Gannon (www.olivergannon.com)