Description of Show # 1957, 05-19-22
Hypnosis by pianist Harold Mabern starts the order of this session segueing into Crusaders at the Roxy. A classic by saxophonist Coleman Hawkins shows he was adaptable to bebop, and newcomers Hard Bop Messengers are really not so…We feature a few minutes of their new release, where the pianist & bassist are adequate links. More of what we’re really talkin’ about among new releases comes from drummer/leader Charles Goold. Steve Davis is the hardest-working trombonist in New York, his style welcomes like-minded players of today. Then there’s pianist Sean Fyfe who fronts a quartet also featuring guitarist Sam Kirmayer. Our Blues Radio Hacksaw segment features BB King rockin’ away, and T-Bone Walker being his typically wicked self on vocal and guitar. Piano Professor Longhair lends just the right New Orleans credence to end our first hour. In act two, Thelonious Monk’s quartet brought in clarinetist Pee Wee Russell who even at the 1964 Newport Fest was WAY back from the old school. The clarinetist’s undaunted presence and grit alongside the quartet prove HE negotiated Monk better than most rookies who try today. Then there’s effective, in-your-face music of NOW: Trumpeter Theo Croker’s music is stimulating, intense and pushing the envelope. There’s no one to turn to at this point except John Coltrane, performing much-needed “Compassion.” Mellow and spot-on is vocalist Lizz Wright, acoustic guitars are mastered by Larry Coryell and Philip Catherine. Then we compare a couple tracks recorded in the same studio about 65 years apart, Sonny Clark’s “Cool Struttin,” and little-known but tight and clean pianist Adam Schulman, both sessions recorded at Rudy Van Gelder’s, Englewood Cliffs, New Jersey. The Spanish Harlem Orchestra delivers straight salsa to wrap our soul exercise in disguise, Hacksaw Caliente!
Description of Show # 1956, 05-12-22
A Contemporary Brazilian musician from proud musical heritage starts the show, meet Phill Fest. An efficient segue is made by the most soulful Marlena Shaw, an all-around entertainer who revives one of her studio hits. A track of solo bass is unheard of, but (electric and) upright master Eberhard Weber has recorded an entire concert of it. At first glance, the title “Them There Eyes” might conjure up tin pan alley, but after Canadian Rob McConnel & Boss Brass get thru with it, we’re calling “the future Bill Bailey” home. Master organist Tony Monaco makes an appearance and our Blues Radio Hacksaw pick comes from John Lee Hooker, Willie Colon and Celia Cruz provide “Hacksaw Caliente.” Another next generation of strong familial legacies comes from Arturo O’Farrill, offering almost classical references. A master who never got a fair hearing and left us too soon was Sonny Criss and his alto sax. We start hour # 2 with a Facebook live video called “Bad to the Trombone,” then wind Toshiko Akiyoshi up and let her go, along with a string of horn soloists including husband Lew Tabakin. We switch it up and feature a brand new Azar Lawrence saxophone release, followed by that player’s influence, saxophonist John Coltrane and his quartet from a famous vintage sampler called “New Wave of Jazz.” For a few more laps to go, we pace ourselves with pianist Edward Simon’s solo performance of Billy Strayhorn, spin a true jazz hit by pianist Horace Silver, plus send out best wishes to “Jelly Jelly” by Count Basie and Billy Eckstine. Next is 1955 Charles Mingus, detecting his righteous and bombastic nature, creating groundbreaking music. The closing selection comes from today’s Echo Park Project, playing Latin sounds. A large and rare record collection meets a radio show: Hacksaw Jazz.
Description of Show # 1955 05-05-22
We can’t be bored…if we’re engaged. But if we’re passive, it’s still lively & fun. We begin back in the Cafe Bohemia days of Art Blakey’s Jazz Messengers, meandering over to Chicago for saxophonist Lin Halliday who utilizes Ira Sullivan, really making it on the flugelhorn. Singer Somi Zenzile is a new voice, quite pleasing to ear and paying tribute to Miriam Makeba (who would have been 90 this year). Cannonball Adderley was only 20 Bird years away when the former recorded his swan song which we hear from 1975. Mike Boone’s new music has excellent energy, compatible with liberation. And it took the jury about ten seconds to reach a verdict on Cyrille Aimee’s top-form voice matched with Adonis Rose’s New Orleans Jazz Orchestra. “WOW” is our instant reaction to the A & M Octet, with strong soloists and special honor bestowed by co-leader Alex Manoukas’ bari sax nod to Dizzy Gillespie. Bobby Watson to the rescue on alto sax, reminiscent of a Cannonball tone. Act two bursts out of the chute with five-star energy from drummer-leader Aaron Seeber, recorded at Brooklyn’s Ornithology club in 2021. Speaking of drummers, until Cozy Cole’s hit instrumental called Topsy Part 2, his best-known association was with Cab Calloway. Uplifting is the mood we’d describe for saxophonist Joe Henderson, and our Blues Radio Hacksaw segment features the late writer/producer and performer Denise LaSalle singing her # 1 hit, and crossing over. For the final leg of this program, we retreat into a place of low piano rumble, and call on four separate players to get there. No one can replace the style of Oscar Peterson. But the real mode we seek starts with an interlude by Sergei Rachmaninoff himself, alone at the piano. Then perhaps in the same key, spiritual guide Alice Coltrane takes over with “One for the Father.” Finally Toshiko Akiyoshi, another lady pianist, sustains this cosmic depth until her trio releases us into an almost Latin rhythm to conclude the tour. From deep grooves to stimulating jams, which is where we prefer to live, search for Hacksaw Jazz.
Description of Show # 1953 04-28-22
A bit of stimulating action in classical form starts our program, Claude Bolling composer and piano with Jean-Pierre Rampal on flute, which then bows to a piano interlude of a moody Ellis Larkins. Vocalist Carmen McRae gets us right into a sweet spot followed by guitarist Barney Kessel’s group including Art Pepper on tenor sax, rather unlike himself. We feature two tracks off a classic Poncho Sanchez vinyl, only since he is that versatile. In one new release we enjoy guitar from leader Brent Laidler, an in another, leader/drummer Bernie Dresel (featuring Carl Saunders on vocal ant trumpet). Clarence Gatemouth Brown is one Texan blues man who pays homage to another in this version of Albert Collins’ “Frosty.” And how about some Joe Henderson tenor sax from the classic Blue Note record label days? Hour number two opens with Gerald Wilson’s west coast big band, with guitarist Joe Pass in-tow. We stay in Calif for Cal Tjader’s attractive Philly Mambo, followed by a new singer on us, Eugenie Jones from an ambitions recent release. It’s classic time on the program with composer/bassist/leader Oscar Pettiford, and we feel Lynne Arriale’s piano has shadings of McCoy Tyner. We can’t get deeper than Billy Lady Day Holiday singing an original, and Toronto pianist Bernie Senensky spotlights saxophonist Bob Mover in a moving manner. We enjoy Bobby Hutcherson’s 1970s San Francisco energy, and conclude our proceedings with John “Scrapper” Sneider, a qualified current-day New York trumpeter. This is the lens thru which we view the world, a mainstream of life for a community, Hacksaw Jazz.
Description of Show # 1952 04-21-22
Diana Krall has a pulse in 1995’s “Hit That Jive Jack,” which also features killer guitarist Russell Malone. The group Songon gives us a chance to get into a pretty good jam on a Tito Puente chestnut. True artists are especially jazz singers, and when they’re real, like Mark Murphy and Blossom Dearie (a heavyweight and a droll doll), it’s hard to go back to snacking. Bringing us up ever so slightly in tempo is pianist Miki Yamanaka from the 20-teens, and don’t we have a responsibility to spin jazz’s best sellers? Enter Jimmy Smith at the Chicken Shack (with Stanley Turrentine sax and Kenny Burrell guitar). Berkeley California’s Daggerboard is releasing material faster than we can play it, and from our blues and Latin categories we sample Eddie Cleanhead Vinson and Miguelito Valdez. At intermission we notice it’s after 3 o’clock but it’s early. In our second act this week veteran Sonny Rollins is in one of his favorite bags, the calypso, as saxophonist Houston Person is in duet with bassist Ron Carter. In a tidbit of curiosity, it is most likely that “David” in Arabic is “Daahoud,” the title to a well-known Clifford Brown record. So who did HE name it for? (Talib Dawud, a trumpet-playing acquaintance). From our environs comes the Sonoran Brass Quintet with a delightful version of a standard, and we remember Michel Petrucciani who plays a Wes Montgomery hit from the piano. The balance of our program is devoted to new releases, most released since 2022. Lenny Marcus is an adventurous pianist who admires his predecessors, Diego Figueiredo plays nylon guitar in samba and Sven Anderson is a pianist who frankly belies his name. Our favorite current lady jazz vocalist from Detroit, Kathy Kosins, churns out another very contemporary single. And our pick to click is young alto saxophonist Kenny Shanker, playing with a melodic attitude. Self-indulgence without bothering anybody else’s aspirations or successes, that’s us in the studio, Hacksaw Jazz.
Description of Show # 1951 04-14-22
According to trumpeter Eddie Henderson, it takes a lot of toys to put together a program which if balanced, should contain big band and vocal as well. Therefore a new release of the all-woman Grace Fox ensemble follows, with the 14-piece Orin Evans group to seal the deal. Whether in a Monk or Modern (Jazz Quartet) vein, the blues are never far behind. It is a recent delight to appreciate the work of tenor saxophonist Yannick Riu’s Generation Quartet, as the energy propels a little like Mingus. Another under-appreciated artist who writes in the Mingus manner (meaning long, flowery, flowing lines not unlike Brazilian music) is Rahsaan Roland Kirk, heard here on flute with his anthem “Bright Moments.” The tempo is maintained willingly wound-up, first by the Clayton Brothers Quintet, followed by the old Woodchopper, Woody Herman from his 40th Anniversary Carnegie Hall concert. In our second hour it’s all good with the elements of pianist/writer and leader Kenny Barron. Deanne Matley is a new Canadian singer to us, with originality from her French lyrics, in tribute to Oscar Peterson and the Alberta venue in which he was discovered. Beginning a collage of deeply meditative tracks is guitarist Larry Coryell backed by the best, Cassandra Wilson sings Miles Davis and Bill Evans, and today’s harpist Brandee Younger performs an unusual technical and original feat. The best-known Bill Evans Trio follows, then based on a Ravel classic, a mambo rhythm by the group Songon bringing it up delicately. For a Cuban jazz fantasy we call on the mighty Mongo Santamaria, concluding the hour with the blues. Austin’s Seth Walker goes first, then Sonny Boy Williamson croons a loving ballad for his manager, “I Ain’t fattening up NO more frogs for SNAKES.” We feel engaged listening is an alternative to just 280 characters. Hacksaw Jazz, you KNOW you want some…
Description of Show # 1948 04-07-22
What do guitarist Wes Montgomery and drummer Art Blakey have in common? They were each recorded by the late Rudy Van Gelder, an engineer with an invisible presence on the legacy of documented jazz. Tommy Flanagan’s piano takes us elsewhere momentarily, but then it’s right back to another recording by Mr. Van Gelder from his first studio: The Modern Jazz Quartet in the middle 1950s (which may best demonstrate the penultimate definition of sonic quality). Bassist Ron Carter has recorded probably more than anyone else, and we hear him as leader in the 1970s. Herbie Hancock on his famous Maiden Voyage, also heard here, used the bassist Mr. Carter. A new release from drummer Charles Goold continues our first hour and the “Master of the Telecaster” Albert Collins is frozen alive to conclude Act One. Another hour of jazz recordings continue with the Spanish Harlem Orchestra and instrumental Latin rhythms, then it’s time to appreciate two quite different but compatible male vocalists. Johnny Hartman is first (backed by John Coltrane), followed by Eddie Jefferson singing a Coleman Hawkins saxophone solo! Newcomer Eli Digibri playing soprano sax is among Israel’s large pool of young hardcore jazz practitioners, and this time offers a consistent simmer in 11/4 time signature which works for us. Veteran Donald Byrd plays trumpet from one of his later sessions. Speaking of brass, master Art Farmer plays a masterpiece melody on Duke’s Sentimental Mood, and saxophonist Paul Desmond’s classical training is perfectly imbedded within the Modern Jazz Quartet for a special concert. Baritone sax legend Gerry Mulligan brings on an exceptional lady singer named Jane Duboc, then with our pick to click from among the first re-releases of 2022, we enjoy a track from pianist Keith Jarrett’s 1971 album “Facing You.” On radio from Nashville to Lansing to Winnipeg, plus stations up and down the North American continent each week, Hacksaw Jazz.
Description of Show # 1947 03-31-22
Live on remote from our annual sponsored Gifts Anon (two words on Facebook) broadcast, co-host is trumpeter Gabriel Bey. We do play-by-play for musicians playing today’s game, and the first thing evident is a slew of trombonists. JJ Johnson kicks off, passed to organist Jimmy Smith. Herbie Hancock brings back memories of high school play, and co-host Gabriel features some of his original music. Maynard Ferguson is back for second quarter, singer Trineice Robinson really maneuvers the arrangement, then truly a pertinent document for our history by Miles Davis. The first half wraps with a request for saxophonist Hank Crawford from an on-site listener, singing lyrics on instant replay, a cappella, live on-air. After half time another listener exclaims “I KNEW that was Count Basie” upon hearing trombonist Al Gray. Not many remember singer Eddie Jefferson, an obscure real jazz singer. However, most fans beyond jazz know the name Billie Holiday, some even recognizing her voice. In new releases, we feature the Electro-Samba Orchestra comprising acoustic brass and percussion with electronic keys & drum machine to interpret Brazil. And the big band of Eddie Madden, music with “nice penmanship.” Overtime in jazz is called After Hours, an old tune played here by organist Jack McDuff. Staying in a groove, but for dancers, is Paul Hucklebuck Williams. Guitarist Kenny Burrell is stuck in the ‘60s and our closer was obvious: Dave Brubeck Quartet’s Take Five. “It’s a strange time here, Hacksaw outa line” is a verse we swear was shouted by a blues singer during the postgame show…
Description of Classic Spins, 03-24-22
Once Goodman, Ellington, Miles and Coltrane are experienced, we wonder what the next names might be in a 20th Century jazz fan’s opinion. Of these, how many have we featured or ignored over recent years on the radio? In an audit for answers and solutions, we isolated a few “classic spins” into a new column and at first glance see recognizable artists, plus younger names, and still a few favorites considered obscure. Take pianist Sonny Clark for example, not a household name but in his day he was supported by “hard” and “post-bop” jazz category leaders. A more recognizable name along this line might be pianist/composer Horace Silver. Tito Puente is certainly at the top of Latin and jazz lists but singer Kathy Kosins might not be well-known outside her native Detroit? Organist Doug Carn is certainly an underground figure with a long history. Singer/pianist Shirley Horn seems to have had multiple careers, but also really peaked just prior to her passing in ’05. And the only words we need for the balance of hour one this episode are their names: Count Basie, Coleman Hawkins and Maynard Ferguson. To begin radio hour two we combine the street smarts of a lady who can really work a crowd, Ernestine Anderson, with the Capp-Pierce Juggernaut (big band) which came out of, and can stand up to: Basie, Herman, Kenton, etc. Then trumpeter Freddie Hubbard hosts McCoy Tyner, Ron Carter and Elvin Jones (folks, these are GIANTS). For our “Blues Radio Hacksaw” pick to click, enjoy ZZ Hill with a classic. And on the Latin New York side, the two most prominent incubators of this genre from the 1940s on, are Machito and Dizzy Gillespie. We hold trumpeter Diz over to join saxophonist Sonny Stitt in a tribute to Charlie Parker. Pianist Keith Greko was a local favorite in multiple regional pockets, but chose the desert southwest to eventually call home. Keith plays a definite standard here for us. No one in history has sung like Ella Fitzgerald and perhaps there has never been a saxophone sound, whether hot or cool, like Dexter Gordon. All this talk may come across as rather serious, but we feel we are having fun and playing more accessible music today when we take a break from new releases and focus on just plain music masters. Hacksaw Jazz.
Description of Show # 1945, 03-17-22
Digging into the moment, pulling back and laying in deep, we begin with Boston music man Eddie Madden, who maintains a home in the desert southwest. Then at our leisure is trumpeter/composer Thomas Heflin, on the airwaves in a slow jam sense. A classic from Mongo Santamaria is quite compatible, then we “rate the record” for Toronto trombonist and educator Karl Silveira, who calls his composing “independent, but…interlock(ing) in unexpected ways…with multiple possible focal points.” To us it is a a fleeting percussive style only hinting at groove, not helped by persistently odd meter (too overdone these days). We’re not convinced beyond a reasonable doubt, no preponderance of the evidence here. We take the opportunity to suspended rhythm for emotional experience, with masters Kevin Eubanks and Orin Evans, put ‘em together and you get EEE, the Eubanks Evans Experience. It’s an all-star trio of Larry Gouldings organ, Peter Bernstein guitar and Bill Stewart drums, cooking on a standard. Willie Colon and Hector Lavoe portrayed an image in their time, historically standing up all these years later. Naturally we keep Latin rhythms up, combining Tito Puente and Oscar D’Leon. We rate another new release to end our first hour, bringing Chilean saxophonist Melissa Aldana to the fore, playing too often in the upper register for our taste, but always on-pitch. In addition, the two guitar effect, acoustic & electric (of a single player), is notable. For our second act, here are a couple remedies we have found effective: Bill Dogget’s Honky Tonk One and Two, and the Howlin’ Wolf with a variation of a well-known one-chord vamp. Though a leap ahead over 65 years, the next recording is compatible, Hope Diamond (yep, that’s her name) takes on Marvin Gaye. The Charlie Hunter Quartet is stellar, with tandem saxes and a shuffle rhythm, covering Bob Marley. There is a proliferation of piano trios recording today, but no one will ever achieve the collective improvisation Bill Evans. Bassist Mark Wade and his musicians are gutsy despite the aforementioned overused trio instrumentation, in fact this track ushers in the high point, or deepest part, of this episode. Because saxophonist Sonny Criss achieves in-the-pocket slow/medium blues, and The Cookers, all-stars of the highest caliber, simmer in an intensity that shakes to the core. Campus, College & NPR radio from & for the jazz community, Hacksaw Jazz.
Description of Show # 1944, 03-10-22
Guitarist Wes Montgomery is captured in-studio for starters, into a good six piece Latin ensemble “Ritmo Patria” with good soloists. We’ve gotta keep going with Latin in mind, but on the mellow side first with the Echo Park Project, then a pianist named Sharp Radway with a new release. It’s the “Freddie” episode, two by old trumpeter Hubbard himself, two of his compositions too. Here we jam on the classic Red Clay. Kathy Kosins warbles from Detroit, “twin” acoustic guitarists Larry Coryell and Steve Khan play a Wayne Shorter number, and in our continuing tribute to the late pianist, we hear Chick Corea from his Akoustic Band days. We begin with an extended piece for hour # 2, as drummer Shelly Manne admits his group has west coast jazz musicians, but all or most, especially himself, were born elsewhere, mainly in the East. Drummer Paulo Nonnis is next with Big Band Freddie Hubbard, the trumpeter himself follows with his standard on the season. Nate Najar proves his nylon guitar is inspired by the late Charlie Byrd, and we visit Muncie Indiana for a delightful performance by the Ball State University Jazz Ensemble. Trineice Robinson earns high marks for her vocal delivery of a special sacred piece, Eugenie Jones keeps right up offering an original. In tribute to the late drummer Sam Lay, we hear a Muddy Waters recording he played on with friends Paul Butterfield and Mike Bloomfield (Otis Spann’s piano presence really makes it). We do our best to stay organized, that may be the REAL reason for our radio program, as Hacksaw Jazz continues.
Description of Show # 1943, 03-03-22
Covering decades from the 1960s to the 2020s, in the beginning we start with prime cuts. Like saxophonists Gene Ammons and Sonny Stitt, simmering into song stylist Nancy Wilson with sax man Cannonball Adderley. Bringing to a boil is Mondo Eleven with a most popular recipe, and after dining, saxophonist Joshua Redman “Can’t Dance” (with Peters on piano and guitar, that’s Martin and Bernstein). From a vintage LP we hear pianist Monty Alexander and from among our many new releases, guitarist Jorge Garcia releases a hot session done just before “Alto Madness” Richie Cole’s death. We spin pianist/vocalist Bob Dorough by request, revisit legendary pianist Keith Jarrett from among his hundreds to choose from, then turn to a large group and a nylon guitar, both hinting at Brazilian; Namely the Kansas City Boulevard Big Band and Sergio Pereira back-to-back. Our second portion begins with the unthinkable, a flute version of Coltrane’s “Moment’s Notice,” performed by the best, Hubert Laws. Phil Kelly’s “Convergence Zone” big band followed by Len Pierre’s Jazz Orchestra enrich our instrumentation considerably. The Blues Radio Hacksaw portion of this week belongs to John Lee Hooker, Jimmy Thackery, and T-Bone Walker. Not bad for guitar alone. Speaking of which, from both the jazz and new release category for guitar, we call on Ron Jackson. Charles Goold is an energetic young drummer who yields to singer Astrud Gilberto, and for our dream date we deliver a new release of ballads by saxophonist See Slagle. Now beyond straight ahead, we are front & center. No longer are our sounds relegated to side dishes or leftovers. No more back burners for us, Hacksaw Jazz.
Description of Show # 1942, 02-24-22
Back and forth we go, from saxophonist Illinois Jacquet’s appropriately entitled “Hot Rod” to the contemplative Howard Britz Trio of today, and meandering back to the blues with Joe Williams backed by Jack McDuff’s organ. We return to piano trio in waltz time played in the present day by Yaron Gershovsky, followed by trumpeter and goodwill ambassador Dizzy Gillespie performing the intricate composition “Bebop” with a small group in a live setting. Vocalist Irene Jalenti’s vocal range lends itself to a classic standard and then it’s yet again, you guessed it, another piano trio from Steve Million in tempo and rhythm apart from the others. For a big band track dated just enough for charm, may we present organist Jimmy Smith playing Billy Strayhorn. Big band and uptempo continue with Canadian Rob McConnell & his Boss Brass in a nod to civic pride. Meditative and somewhat meandering we might call the group Daggerboard to close out our first hour. 2-min break music: Yoron Israel-Three Words. Salsa, blues and bop permeate our next segment beginning with tasty drummer Louie Bellson, constructing a snappy solo while leading his group. Appealing rhythms are played by Tito Puente in mambo form, and some thought is pushed forward by pianist Ethan Iverson on his Blue Note label debut album of today. Ryan Oliver is a saxophonist seemingly inspired by the intensity of John Coltrane and McCoy Tyner, “With Strings” as Mr. Oliver’s album implies. In the blues we catch the wicked Smokey Wilson and then Louisiana Red, one doing music by the Wolf and the other doing Muddy’s Rollin’ Stone or Catfish Blues, all in what we might call two-step rhythm. Our final stretch this episode specializes in variety, finding plenty of space in the trio of Christian McBride, Nicholas Payton and Mark Whitfield (on bass, brass and guitar respectively). We hear good taste in music from singer Amber Weekes, Charlie Parker music (come on and let’s Confirm it) arranged for SWR big band in 3/4 time, and finally back to the bare classics with Miles Davis and his “New” Quintet of Coltrane, Red, Chambers and Philly Joe. With that we call it a session. 2-min break music: Lucky Millander-D-Natural Blues. Jazz is definitely an after-hours music, so consider this live radio in a late-night early-morning groove, Hacksaw Jazz.
Hypnosis by pianist Harold Mabern starts the order of this session segueing into Crusaders at the Roxy. A classic by saxophonist Coleman Hawkins shows he was adaptable to bebop, and newcomers Hard Bop Messengers are really not so…We feature a few minutes of their new release, where the pianist & bassist are adequate links. More of what we’re really talkin’ about among new releases comes from drummer/leader Charles Goold. Steve Davis is the hardest-working trombonist in New York, his style welcomes like-minded players of today. Then there’s pianist Sean Fyfe who fronts a quartet also featuring guitarist Sam Kirmayer. Our Blues Radio Hacksaw segment features BB King rockin’ away, and T-Bone Walker being his typically wicked self on vocal and guitar. Piano Professor Longhair lends just the right New Orleans credence to end our first hour. In act two, Thelonious Monk’s quartet brought in clarinetist Pee Wee Russell who even at the 1964 Newport Fest was WAY back from the old school. The clarinetist’s undaunted presence and grit alongside the quartet prove HE negotiated Monk better than most rookies who try today. Then there’s effective, in-your-face music of NOW: Trumpeter Theo Croker’s music is stimulating, intense and pushing the envelope. There’s no one to turn to at this point except John Coltrane, performing much-needed “Compassion.” Mellow and spot-on is vocalist Lizz Wright, acoustic guitars are mastered by Larry Coryell and Philip Catherine. Then we compare a couple tracks recorded in the same studio about 65 years apart, Sonny Clark’s “Cool Struttin,” and little-known but tight and clean pianist Adam Schulman, both sessions recorded at Rudy Van Gelder’s, Englewood Cliffs, New Jersey. The Spanish Harlem Orchestra delivers straight salsa to wrap our soul exercise in disguise, Hacksaw Caliente!
Description of Show # 1956, 05-12-22
A Contemporary Brazilian musician from proud musical heritage starts the show, meet Phill Fest. An efficient segue is made by the most soulful Marlena Shaw, an all-around entertainer who revives one of her studio hits. A track of solo bass is unheard of, but (electric and) upright master Eberhard Weber has recorded an entire concert of it. At first glance, the title “Them There Eyes” might conjure up tin pan alley, but after Canadian Rob McConnel & Boss Brass get thru with it, we’re calling “the future Bill Bailey” home. Master organist Tony Monaco makes an appearance and our Blues Radio Hacksaw pick comes from John Lee Hooker, Willie Colon and Celia Cruz provide “Hacksaw Caliente.” Another next generation of strong familial legacies comes from Arturo O’Farrill, offering almost classical references. A master who never got a fair hearing and left us too soon was Sonny Criss and his alto sax. We start hour # 2 with a Facebook live video called “Bad to the Trombone,” then wind Toshiko Akiyoshi up and let her go, along with a string of horn soloists including husband Lew Tabakin. We switch it up and feature a brand new Azar Lawrence saxophone release, followed by that player’s influence, saxophonist John Coltrane and his quartet from a famous vintage sampler called “New Wave of Jazz.” For a few more laps to go, we pace ourselves with pianist Edward Simon’s solo performance of Billy Strayhorn, spin a true jazz hit by pianist Horace Silver, plus send out best wishes to “Jelly Jelly” by Count Basie and Billy Eckstine. Next is 1955 Charles Mingus, detecting his righteous and bombastic nature, creating groundbreaking music. The closing selection comes from today’s Echo Park Project, playing Latin sounds. A large and rare record collection meets a radio show: Hacksaw Jazz.
Description of Show # 1955 05-05-22
We can’t be bored…if we’re engaged. But if we’re passive, it’s still lively & fun. We begin back in the Cafe Bohemia days of Art Blakey’s Jazz Messengers, meandering over to Chicago for saxophonist Lin Halliday who utilizes Ira Sullivan, really making it on the flugelhorn. Singer Somi Zenzile is a new voice, quite pleasing to ear and paying tribute to Miriam Makeba (who would have been 90 this year). Cannonball Adderley was only 20 Bird years away when the former recorded his swan song which we hear from 1975. Mike Boone’s new music has excellent energy, compatible with liberation. And it took the jury about ten seconds to reach a verdict on Cyrille Aimee’s top-form voice matched with Adonis Rose’s New Orleans Jazz Orchestra. “WOW” is our instant reaction to the A & M Octet, with strong soloists and special honor bestowed by co-leader Alex Manoukas’ bari sax nod to Dizzy Gillespie. Bobby Watson to the rescue on alto sax, reminiscent of a Cannonball tone. Act two bursts out of the chute with five-star energy from drummer-leader Aaron Seeber, recorded at Brooklyn’s Ornithology club in 2021. Speaking of drummers, until Cozy Cole’s hit instrumental called Topsy Part 2, his best-known association was with Cab Calloway. Uplifting is the mood we’d describe for saxophonist Joe Henderson, and our Blues Radio Hacksaw segment features the late writer/producer and performer Denise LaSalle singing her # 1 hit, and crossing over. For the final leg of this program, we retreat into a place of low piano rumble, and call on four separate players to get there. No one can replace the style of Oscar Peterson. But the real mode we seek starts with an interlude by Sergei Rachmaninoff himself, alone at the piano. Then perhaps in the same key, spiritual guide Alice Coltrane takes over with “One for the Father.” Finally Toshiko Akiyoshi, another lady pianist, sustains this cosmic depth until her trio releases us into an almost Latin rhythm to conclude the tour. From deep grooves to stimulating jams, which is where we prefer to live, search for Hacksaw Jazz.
Description of Show # 1953 04-28-22
A bit of stimulating action in classical form starts our program, Claude Bolling composer and piano with Jean-Pierre Rampal on flute, which then bows to a piano interlude of a moody Ellis Larkins. Vocalist Carmen McRae gets us right into a sweet spot followed by guitarist Barney Kessel’s group including Art Pepper on tenor sax, rather unlike himself. We feature two tracks off a classic Poncho Sanchez vinyl, only since he is that versatile. In one new release we enjoy guitar from leader Brent Laidler, an in another, leader/drummer Bernie Dresel (featuring Carl Saunders on vocal ant trumpet). Clarence Gatemouth Brown is one Texan blues man who pays homage to another in this version of Albert Collins’ “Frosty.” And how about some Joe Henderson tenor sax from the classic Blue Note record label days? Hour number two opens with Gerald Wilson’s west coast big band, with guitarist Joe Pass in-tow. We stay in Calif for Cal Tjader’s attractive Philly Mambo, followed by a new singer on us, Eugenie Jones from an ambitions recent release. It’s classic time on the program with composer/bassist/leader Oscar Pettiford, and we feel Lynne Arriale’s piano has shadings of McCoy Tyner. We can’t get deeper than Billy Lady Day Holiday singing an original, and Toronto pianist Bernie Senensky spotlights saxophonist Bob Mover in a moving manner. We enjoy Bobby Hutcherson’s 1970s San Francisco energy, and conclude our proceedings with John “Scrapper” Sneider, a qualified current-day New York trumpeter. This is the lens thru which we view the world, a mainstream of life for a community, Hacksaw Jazz.
Description of Show # 1952 04-21-22
Diana Krall has a pulse in 1995’s “Hit That Jive Jack,” which also features killer guitarist Russell Malone. The group Songon gives us a chance to get into a pretty good jam on a Tito Puente chestnut. True artists are especially jazz singers, and when they’re real, like Mark Murphy and Blossom Dearie (a heavyweight and a droll doll), it’s hard to go back to snacking. Bringing us up ever so slightly in tempo is pianist Miki Yamanaka from the 20-teens, and don’t we have a responsibility to spin jazz’s best sellers? Enter Jimmy Smith at the Chicken Shack (with Stanley Turrentine sax and Kenny Burrell guitar). Berkeley California’s Daggerboard is releasing material faster than we can play it, and from our blues and Latin categories we sample Eddie Cleanhead Vinson and Miguelito Valdez. At intermission we notice it’s after 3 o’clock but it’s early. In our second act this week veteran Sonny Rollins is in one of his favorite bags, the calypso, as saxophonist Houston Person is in duet with bassist Ron Carter. In a tidbit of curiosity, it is most likely that “David” in Arabic is “Daahoud,” the title to a well-known Clifford Brown record. So who did HE name it for? (Talib Dawud, a trumpet-playing acquaintance). From our environs comes the Sonoran Brass Quintet with a delightful version of a standard, and we remember Michel Petrucciani who plays a Wes Montgomery hit from the piano. The balance of our program is devoted to new releases, most released since 2022. Lenny Marcus is an adventurous pianist who admires his predecessors, Diego Figueiredo plays nylon guitar in samba and Sven Anderson is a pianist who frankly belies his name. Our favorite current lady jazz vocalist from Detroit, Kathy Kosins, churns out another very contemporary single. And our pick to click is young alto saxophonist Kenny Shanker, playing with a melodic attitude. Self-indulgence without bothering anybody else’s aspirations or successes, that’s us in the studio, Hacksaw Jazz.
Description of Show # 1951 04-14-22
According to trumpeter Eddie Henderson, it takes a lot of toys to put together a program which if balanced, should contain big band and vocal as well. Therefore a new release of the all-woman Grace Fox ensemble follows, with the 14-piece Orin Evans group to seal the deal. Whether in a Monk or Modern (Jazz Quartet) vein, the blues are never far behind. It is a recent delight to appreciate the work of tenor saxophonist Yannick Riu’s Generation Quartet, as the energy propels a little like Mingus. Another under-appreciated artist who writes in the Mingus manner (meaning long, flowery, flowing lines not unlike Brazilian music) is Rahsaan Roland Kirk, heard here on flute with his anthem “Bright Moments.” The tempo is maintained willingly wound-up, first by the Clayton Brothers Quintet, followed by the old Woodchopper, Woody Herman from his 40th Anniversary Carnegie Hall concert. In our second hour it’s all good with the elements of pianist/writer and leader Kenny Barron. Deanne Matley is a new Canadian singer to us, with originality from her French lyrics, in tribute to Oscar Peterson and the Alberta venue in which he was discovered. Beginning a collage of deeply meditative tracks is guitarist Larry Coryell backed by the best, Cassandra Wilson sings Miles Davis and Bill Evans, and today’s harpist Brandee Younger performs an unusual technical and original feat. The best-known Bill Evans Trio follows, then based on a Ravel classic, a mambo rhythm by the group Songon bringing it up delicately. For a Cuban jazz fantasy we call on the mighty Mongo Santamaria, concluding the hour with the blues. Austin’s Seth Walker goes first, then Sonny Boy Williamson croons a loving ballad for his manager, “I Ain’t fattening up NO more frogs for SNAKES.” We feel engaged listening is an alternative to just 280 characters. Hacksaw Jazz, you KNOW you want some…
Description of Show # 1948 04-07-22
What do guitarist Wes Montgomery and drummer Art Blakey have in common? They were each recorded by the late Rudy Van Gelder, an engineer with an invisible presence on the legacy of documented jazz. Tommy Flanagan’s piano takes us elsewhere momentarily, but then it’s right back to another recording by Mr. Van Gelder from his first studio: The Modern Jazz Quartet in the middle 1950s (which may best demonstrate the penultimate definition of sonic quality). Bassist Ron Carter has recorded probably more than anyone else, and we hear him as leader in the 1970s. Herbie Hancock on his famous Maiden Voyage, also heard here, used the bassist Mr. Carter. A new release from drummer Charles Goold continues our first hour and the “Master of the Telecaster” Albert Collins is frozen alive to conclude Act One. Another hour of jazz recordings continue with the Spanish Harlem Orchestra and instrumental Latin rhythms, then it’s time to appreciate two quite different but compatible male vocalists. Johnny Hartman is first (backed by John Coltrane), followed by Eddie Jefferson singing a Coleman Hawkins saxophone solo! Newcomer Eli Digibri playing soprano sax is among Israel’s large pool of young hardcore jazz practitioners, and this time offers a consistent simmer in 11/4 time signature which works for us. Veteran Donald Byrd plays trumpet from one of his later sessions. Speaking of brass, master Art Farmer plays a masterpiece melody on Duke’s Sentimental Mood, and saxophonist Paul Desmond’s classical training is perfectly imbedded within the Modern Jazz Quartet for a special concert. Baritone sax legend Gerry Mulligan brings on an exceptional lady singer named Jane Duboc, then with our pick to click from among the first re-releases of 2022, we enjoy a track from pianist Keith Jarrett’s 1971 album “Facing You.” On radio from Nashville to Lansing to Winnipeg, plus stations up and down the North American continent each week, Hacksaw Jazz.
Description of Show # 1947 03-31-22
Live on remote from our annual sponsored Gifts Anon (two words on Facebook) broadcast, co-host is trumpeter Gabriel Bey. We do play-by-play for musicians playing today’s game, and the first thing evident is a slew of trombonists. JJ Johnson kicks off, passed to organist Jimmy Smith. Herbie Hancock brings back memories of high school play, and co-host Gabriel features some of his original music. Maynard Ferguson is back for second quarter, singer Trineice Robinson really maneuvers the arrangement, then truly a pertinent document for our history by Miles Davis. The first half wraps with a request for saxophonist Hank Crawford from an on-site listener, singing lyrics on instant replay, a cappella, live on-air. After half time another listener exclaims “I KNEW that was Count Basie” upon hearing trombonist Al Gray. Not many remember singer Eddie Jefferson, an obscure real jazz singer. However, most fans beyond jazz know the name Billie Holiday, some even recognizing her voice. In new releases, we feature the Electro-Samba Orchestra comprising acoustic brass and percussion with electronic keys & drum machine to interpret Brazil. And the big band of Eddie Madden, music with “nice penmanship.” Overtime in jazz is called After Hours, an old tune played here by organist Jack McDuff. Staying in a groove, but for dancers, is Paul Hucklebuck Williams. Guitarist Kenny Burrell is stuck in the ‘60s and our closer was obvious: Dave Brubeck Quartet’s Take Five. “It’s a strange time here, Hacksaw outa line” is a verse we swear was shouted by a blues singer during the postgame show…
Description of Classic Spins, 03-24-22
Once Goodman, Ellington, Miles and Coltrane are experienced, we wonder what the next names might be in a 20th Century jazz fan’s opinion. Of these, how many have we featured or ignored over recent years on the radio? In an audit for answers and solutions, we isolated a few “classic spins” into a new column and at first glance see recognizable artists, plus younger names, and still a few favorites considered obscure. Take pianist Sonny Clark for example, not a household name but in his day he was supported by “hard” and “post-bop” jazz category leaders. A more recognizable name along this line might be pianist/composer Horace Silver. Tito Puente is certainly at the top of Latin and jazz lists but singer Kathy Kosins might not be well-known outside her native Detroit? Organist Doug Carn is certainly an underground figure with a long history. Singer/pianist Shirley Horn seems to have had multiple careers, but also really peaked just prior to her passing in ’05. And the only words we need for the balance of hour one this episode are their names: Count Basie, Coleman Hawkins and Maynard Ferguson. To begin radio hour two we combine the street smarts of a lady who can really work a crowd, Ernestine Anderson, with the Capp-Pierce Juggernaut (big band) which came out of, and can stand up to: Basie, Herman, Kenton, etc. Then trumpeter Freddie Hubbard hosts McCoy Tyner, Ron Carter and Elvin Jones (folks, these are GIANTS). For our “Blues Radio Hacksaw” pick to click, enjoy ZZ Hill with a classic. And on the Latin New York side, the two most prominent incubators of this genre from the 1940s on, are Machito and Dizzy Gillespie. We hold trumpeter Diz over to join saxophonist Sonny Stitt in a tribute to Charlie Parker. Pianist Keith Greko was a local favorite in multiple regional pockets, but chose the desert southwest to eventually call home. Keith plays a definite standard here for us. No one in history has sung like Ella Fitzgerald and perhaps there has never been a saxophone sound, whether hot or cool, like Dexter Gordon. All this talk may come across as rather serious, but we feel we are having fun and playing more accessible music today when we take a break from new releases and focus on just plain music masters. Hacksaw Jazz.
Description of Show # 1945, 03-17-22
Digging into the moment, pulling back and laying in deep, we begin with Boston music man Eddie Madden, who maintains a home in the desert southwest. Then at our leisure is trumpeter/composer Thomas Heflin, on the airwaves in a slow jam sense. A classic from Mongo Santamaria is quite compatible, then we “rate the record” for Toronto trombonist and educator Karl Silveira, who calls his composing “independent, but…interlock(ing) in unexpected ways…with multiple possible focal points.” To us it is a a fleeting percussive style only hinting at groove, not helped by persistently odd meter (too overdone these days). We’re not convinced beyond a reasonable doubt, no preponderance of the evidence here. We take the opportunity to suspended rhythm for emotional experience, with masters Kevin Eubanks and Orin Evans, put ‘em together and you get EEE, the Eubanks Evans Experience. It’s an all-star trio of Larry Gouldings organ, Peter Bernstein guitar and Bill Stewart drums, cooking on a standard. Willie Colon and Hector Lavoe portrayed an image in their time, historically standing up all these years later. Naturally we keep Latin rhythms up, combining Tito Puente and Oscar D’Leon. We rate another new release to end our first hour, bringing Chilean saxophonist Melissa Aldana to the fore, playing too often in the upper register for our taste, but always on-pitch. In addition, the two guitar effect, acoustic & electric (of a single player), is notable. For our second act, here are a couple remedies we have found effective: Bill Dogget’s Honky Tonk One and Two, and the Howlin’ Wolf with a variation of a well-known one-chord vamp. Though a leap ahead over 65 years, the next recording is compatible, Hope Diamond (yep, that’s her name) takes on Marvin Gaye. The Charlie Hunter Quartet is stellar, with tandem saxes and a shuffle rhythm, covering Bob Marley. There is a proliferation of piano trios recording today, but no one will ever achieve the collective improvisation Bill Evans. Bassist Mark Wade and his musicians are gutsy despite the aforementioned overused trio instrumentation, in fact this track ushers in the high point, or deepest part, of this episode. Because saxophonist Sonny Criss achieves in-the-pocket slow/medium blues, and The Cookers, all-stars of the highest caliber, simmer in an intensity that shakes to the core. Campus, College & NPR radio from & for the jazz community, Hacksaw Jazz.
Description of Show # 1944, 03-10-22
Guitarist Wes Montgomery is captured in-studio for starters, into a good six piece Latin ensemble “Ritmo Patria” with good soloists. We’ve gotta keep going with Latin in mind, but on the mellow side first with the Echo Park Project, then a pianist named Sharp Radway with a new release. It’s the “Freddie” episode, two by old trumpeter Hubbard himself, two of his compositions too. Here we jam on the classic Red Clay. Kathy Kosins warbles from Detroit, “twin” acoustic guitarists Larry Coryell and Steve Khan play a Wayne Shorter number, and in our continuing tribute to the late pianist, we hear Chick Corea from his Akoustic Band days. We begin with an extended piece for hour # 2, as drummer Shelly Manne admits his group has west coast jazz musicians, but all or most, especially himself, were born elsewhere, mainly in the East. Drummer Paulo Nonnis is next with Big Band Freddie Hubbard, the trumpeter himself follows with his standard on the season. Nate Najar proves his nylon guitar is inspired by the late Charlie Byrd, and we visit Muncie Indiana for a delightful performance by the Ball State University Jazz Ensemble. Trineice Robinson earns high marks for her vocal delivery of a special sacred piece, Eugenie Jones keeps right up offering an original. In tribute to the late drummer Sam Lay, we hear a Muddy Waters recording he played on with friends Paul Butterfield and Mike Bloomfield (Otis Spann’s piano presence really makes it). We do our best to stay organized, that may be the REAL reason for our radio program, as Hacksaw Jazz continues.
Description of Show # 1943, 03-03-22
Covering decades from the 1960s to the 2020s, in the beginning we start with prime cuts. Like saxophonists Gene Ammons and Sonny Stitt, simmering into song stylist Nancy Wilson with sax man Cannonball Adderley. Bringing to a boil is Mondo Eleven with a most popular recipe, and after dining, saxophonist Joshua Redman “Can’t Dance” (with Peters on piano and guitar, that’s Martin and Bernstein). From a vintage LP we hear pianist Monty Alexander and from among our many new releases, guitarist Jorge Garcia releases a hot session done just before “Alto Madness” Richie Cole’s death. We spin pianist/vocalist Bob Dorough by request, revisit legendary pianist Keith Jarrett from among his hundreds to choose from, then turn to a large group and a nylon guitar, both hinting at Brazilian; Namely the Kansas City Boulevard Big Band and Sergio Pereira back-to-back. Our second portion begins with the unthinkable, a flute version of Coltrane’s “Moment’s Notice,” performed by the best, Hubert Laws. Phil Kelly’s “Convergence Zone” big band followed by Len Pierre’s Jazz Orchestra enrich our instrumentation considerably. The Blues Radio Hacksaw portion of this week belongs to John Lee Hooker, Jimmy Thackery, and T-Bone Walker. Not bad for guitar alone. Speaking of which, from both the jazz and new release category for guitar, we call on Ron Jackson. Charles Goold is an energetic young drummer who yields to singer Astrud Gilberto, and for our dream date we deliver a new release of ballads by saxophonist See Slagle. Now beyond straight ahead, we are front & center. No longer are our sounds relegated to side dishes or leftovers. No more back burners for us, Hacksaw Jazz.
Description of Show # 1942, 02-24-22
Back and forth we go, from saxophonist Illinois Jacquet’s appropriately entitled “Hot Rod” to the contemplative Howard Britz Trio of today, and meandering back to the blues with Joe Williams backed by Jack McDuff’s organ. We return to piano trio in waltz time played in the present day by Yaron Gershovsky, followed by trumpeter and goodwill ambassador Dizzy Gillespie performing the intricate composition “Bebop” with a small group in a live setting. Vocalist Irene Jalenti’s vocal range lends itself to a classic standard and then it’s yet again, you guessed it, another piano trio from Steve Million in tempo and rhythm apart from the others. For a big band track dated just enough for charm, may we present organist Jimmy Smith playing Billy Strayhorn. Big band and uptempo continue with Canadian Rob McConnell & his Boss Brass in a nod to civic pride. Meditative and somewhat meandering we might call the group Daggerboard to close out our first hour. 2-min break music: Yoron Israel-Three Words. Salsa, blues and bop permeate our next segment beginning with tasty drummer Louie Bellson, constructing a snappy solo while leading his group. Appealing rhythms are played by Tito Puente in mambo form, and some thought is pushed forward by pianist Ethan Iverson on his Blue Note label debut album of today. Ryan Oliver is a saxophonist seemingly inspired by the intensity of John Coltrane and McCoy Tyner, “With Strings” as Mr. Oliver’s album implies. In the blues we catch the wicked Smokey Wilson and then Louisiana Red, one doing music by the Wolf and the other doing Muddy’s Rollin’ Stone or Catfish Blues, all in what we might call two-step rhythm. Our final stretch this episode specializes in variety, finding plenty of space in the trio of Christian McBride, Nicholas Payton and Mark Whitfield (on bass, brass and guitar respectively). We hear good taste in music from singer Amber Weekes, Charlie Parker music (come on and let’s Confirm it) arranged for SWR big band in 3/4 time, and finally back to the bare classics with Miles Davis and his “New” Quintet of Coltrane, Red, Chambers and Philly Joe. With that we call it a session. 2-min break music: Lucky Millander-D-Natural Blues. Jazz is definitely an after-hours music, so consider this live radio in a late-night early-morning groove, Hacksaw Jazz.
MUSIC JOURNALISM
Ten jazz downloads of 2021 we liked:
Steven Feifke-KINETIC-Outside in Music-Feifke a young pianist and knows how to layer thoughts into the different sections of a big band to work in today’s complex truths.
Lee Heerspink-MONSTERS’ IMPROMPTU-leeheerspink-A funny name but a great guitarist. Clean, single-note solos ride on top of an organ combo.
David Larsen-DEVIATE FROM THE STANDARDS-DLP-We get two for one from this baritone saxophonist in almost a year’s time, as his previous release was a tribute to baritone sax legend Gerry Mulligan.
Charnett Moffett-NEW LOVE-Motema-Not the deepest contemporary album lately, but since Moffett features the electric bass (as he’s known for his stand-up), and Irwin Hall’s tenor sax sounds like Charles Lloyd, we can only surmise their influences.
Dave Mullen Ensemble-SOLACE-Mullsoul Music-We don’t quite know…Is this ultra-hyperactive, or is it smokin’ happening? The cover shows the leader playing two saxophones at once, but we only seem to hear that on one track.
Jackson Potter-RESTLESS-Wise Cat -This is a very young man, looking barely out of his ‘teens. But his maturity and originality almost match today’s higher-rated jazz guitarists like Peter Bernstein and Kurt Rosenwinkle.
Adam Scone-WOE AND SLOW-Cellar-This guy must be channeling Jack McDuff, a pioneer jazz organist. The best players, like this newcomer, play organ bass heavy, grooving, in-the-pocket hydraulic which shakes our insides more effectively than any other low end.
Slide Attack-ROAD TRIP-Who plays two trombones in unison these days? Howard Levy and Alan Goidel, that’s who. This is a refreshing and delightful set of music, retro in attitude but a new take on an old idea.
Dara Tucker-You Haven’t done Nothing-DREAMS OF WAKING: MUSIC FOR A BETTER WORLD-Green Hill Music ’21-Not “Daria,” this lady sings with conviction in what might be contra-alto voice range, on-pitch and soulful, performing original material.
Sarah Wilson-KALEIDOSCOPE-Brass Tonic Records-Here is a trumpeter/vocalist from the Bay Area, who’s music is self proclaimed “avant pop, Afro-Latin grooves and indie rock.” It makes for happening music.
1987 recording never before released until 2021:
Oscar Peterson Quartet feat. Joe Pass-LIVE IN HELSINKI Two Lions/Mack Avenue Records-The leader and guitarist are both on fire, the piano in great shape and the recording quality most excellent.
Ten jazz CDs of 2021 we liked:
Daggerboard-LAST DAYS OF STUDIO A-Wide Hive-The album title does not refer to a lament, rather many innovators like Kamasi Washington’s side musicians have assembled all original material, recorded at Fantasy Studios right before they closed in 2018.
Echo Park Project-IT’S MY TURN theechoparkproject.com-A medium-sized Latin jazz and salsa group is charged by young players, utilizing traditional Afro Cuban rhythms to keep any party fresh.
John Hasselback III-ENTRANCE Hasselcastle-Here is a devoted trumpeter who composed an entire album’s worth of new music on a grant as the covid age approached. It is standard jazz instrumentation, but supercharged and includes NY trombonist Steve Davis.
Willie Jones III-FALLEN HEROES WJ3-This drummer carries on a family tradition (II drummed for Count Basie), and each track is either for someone recently departed, or socially conscious of a current plague in society. The playing is hot and has an edge.
Chad Lefkowitz-Brown OPEN WORLD-la.reserve-A global big band is laden with celebrity guest soloists. It drives pretty nicely, but also has its weak points. if you’re gonna do a big band effort don’t hold back!
Larry McDonough Quarter -KIND OF BILL ON THE PALACE GROUNDS LM Jazz-Not every jazz pianist can replicate, or wants to play, in the Bill Evans style. McDonough however has earned this privilege, having known Evans, as well as being endorsed by his widow.
Edward Simon-SOLO LIVE-Ridgeway-There are a handful of piano tracks on this full-length CD, done just as the title implies. All but one are covers, Monk is an example. We like the one original track “Country,” because of the tempo and energy, not easy by oneself.
Dave Stryker-BAKER’S CIRCLE-Strikezone-This may be our favorite album of the year, Stryker is simply one of the best jazz guitarists out there today, though somewhat underground. He favors the organ combo format, and we dig that too.
Bobby Watson-KEEPIN’ IT REAL-Smoke Sessions-Watson is an alto saxophonist not too piercing (like Paquito D’ Revira), and not too coarse (like Vincent Herring). His almost 50 years in the business started with the master drummer/teacher, Art Blakey.
Spike Wilner-ALIENS AND WIZARDS-Cellar-Piano Trio albums are in abundance today, and most of them are good and mean well. Wilner stands out here because of the sonic quality, and obvious confidence. Feels like Erroll Garner’s or Monk’s ghost is right there.
—Tom Coulson fullmoonhacksaw.com I play what I review on the radio.
Steven Feifke-KINETIC-Outside in Music-Feifke a young pianist and knows how to layer thoughts into the different sections of a big band to work in today’s complex truths.
Lee Heerspink-MONSTERS’ IMPROMPTU-leeheerspink-A funny name but a great guitarist. Clean, single-note solos ride on top of an organ combo.
David Larsen-DEVIATE FROM THE STANDARDS-DLP-We get two for one from this baritone saxophonist in almost a year’s time, as his previous release was a tribute to baritone sax legend Gerry Mulligan.
Charnett Moffett-NEW LOVE-Motema-Not the deepest contemporary album lately, but since Moffett features the electric bass (as he’s known for his stand-up), and Irwin Hall’s tenor sax sounds like Charles Lloyd, we can only surmise their influences.
Dave Mullen Ensemble-SOLACE-Mullsoul Music-We don’t quite know…Is this ultra-hyperactive, or is it smokin’ happening? The cover shows the leader playing two saxophones at once, but we only seem to hear that on one track.
Jackson Potter-RESTLESS-Wise Cat -This is a very young man, looking barely out of his ‘teens. But his maturity and originality almost match today’s higher-rated jazz guitarists like Peter Bernstein and Kurt Rosenwinkle.
Adam Scone-WOE AND SLOW-Cellar-This guy must be channeling Jack McDuff, a pioneer jazz organist. The best players, like this newcomer, play organ bass heavy, grooving, in-the-pocket hydraulic which shakes our insides more effectively than any other low end.
Slide Attack-ROAD TRIP-Who plays two trombones in unison these days? Howard Levy and Alan Goidel, that’s who. This is a refreshing and delightful set of music, retro in attitude but a new take on an old idea.
Dara Tucker-You Haven’t done Nothing-DREAMS OF WAKING: MUSIC FOR A BETTER WORLD-Green Hill Music ’21-Not “Daria,” this lady sings with conviction in what might be contra-alto voice range, on-pitch and soulful, performing original material.
Sarah Wilson-KALEIDOSCOPE-Brass Tonic Records-Here is a trumpeter/vocalist from the Bay Area, who’s music is self proclaimed “avant pop, Afro-Latin grooves and indie rock.” It makes for happening music.
1987 recording never before released until 2021:
Oscar Peterson Quartet feat. Joe Pass-LIVE IN HELSINKI Two Lions/Mack Avenue Records-The leader and guitarist are both on fire, the piano in great shape and the recording quality most excellent.
Ten jazz CDs of 2021 we liked:
Daggerboard-LAST DAYS OF STUDIO A-Wide Hive-The album title does not refer to a lament, rather many innovators like Kamasi Washington’s side musicians have assembled all original material, recorded at Fantasy Studios right before they closed in 2018.
Echo Park Project-IT’S MY TURN theechoparkproject.com-A medium-sized Latin jazz and salsa group is charged by young players, utilizing traditional Afro Cuban rhythms to keep any party fresh.
John Hasselback III-ENTRANCE Hasselcastle-Here is a devoted trumpeter who composed an entire album’s worth of new music on a grant as the covid age approached. It is standard jazz instrumentation, but supercharged and includes NY trombonist Steve Davis.
Willie Jones III-FALLEN HEROES WJ3-This drummer carries on a family tradition (II drummed for Count Basie), and each track is either for someone recently departed, or socially conscious of a current plague in society. The playing is hot and has an edge.
Chad Lefkowitz-Brown OPEN WORLD-la.reserve-A global big band is laden with celebrity guest soloists. It drives pretty nicely, but also has its weak points. if you’re gonna do a big band effort don’t hold back!
Larry McDonough Quarter -KIND OF BILL ON THE PALACE GROUNDS LM Jazz-Not every jazz pianist can replicate, or wants to play, in the Bill Evans style. McDonough however has earned this privilege, having known Evans, as well as being endorsed by his widow.
Edward Simon-SOLO LIVE-Ridgeway-There are a handful of piano tracks on this full-length CD, done just as the title implies. All but one are covers, Monk is an example. We like the one original track “Country,” because of the tempo and energy, not easy by oneself.
Dave Stryker-BAKER’S CIRCLE-Strikezone-This may be our favorite album of the year, Stryker is simply one of the best jazz guitarists out there today, though somewhat underground. He favors the organ combo format, and we dig that too.
Bobby Watson-KEEPIN’ IT REAL-Smoke Sessions-Watson is an alto saxophonist not too piercing (like Paquito D’ Revira), and not too coarse (like Vincent Herring). His almost 50 years in the business started with the master drummer/teacher, Art Blakey.
Spike Wilner-ALIENS AND WIZARDS-Cellar-Piano Trio albums are in abundance today, and most of them are good and mean well. Wilner stands out here because of the sonic quality, and obvious confidence. Feels like Erroll Garner’s or Monk’s ghost is right there.
—Tom Coulson fullmoonhacksaw.com I play what I review on the radio.