Best of Show Description 09-29-22
Mr. Blues, Hank Crawford, the sax man from the Ray Charles band, starts our show from the 1990s and a particularly poignant singer named Rene Marie follows, with guest saxophonist Chris Potter. More from the ladies, Maria Muldaur sings next then we get an unexpected and intimate nylon solo guitar performance from Peter Janson. Gerald Wilson and Richard Groove Holmes (orchestra and organ) pay tribute to John Coltrane. Salsa and samba are a good combination today, we get a double play from the great Machito, and then a revisit to the 1970s when Ms. Ernestine Anderson was enjoying a second singing career, we are saddened she died in 2016 at age 87. Newcomer Catherine Russell is all the praises the reviewers are giving her, here she sings and nails an old Dakota Staton number. For a newie in old-timey rhythm, listen to Sweet Meg and Ricky Alexander. A classic himself, saxophonist Scott Hamilton plays a classic from his new release (he moved to London 2007), with Jan Lundgren on piano. For Act Two we start with contemporary guitarist David Blake including notable backing, the sanctified mallet man Milt Jackson cooks along in the 1970s with electric piano by Cedar Walton. Jimmy Forrest is comfortably relaxed and swinging on “Robbin’s Nest,” then a total turnabout: One of several new vibraphonists recording jazz today, Jalen Baker. Gene Ammons and Sonny Stitt duke it out on saxophones and the orchestra of Toshiko Akiyoshi and Lew Tabakin feature trumpeter Steve Huffsteader and probably Gary Foster also sax. We conclude proceedings by reviewing a couple new blues releases, one from the Texas Horns and another from an act called Breezy Rodio. A side of shuffle and a shot of swing, Hacksaw Jazz.
Description of Show # 1978, 09-22-22
Our ingredients are organic, no chemical additives like other radio casts might add. One of jazz’s biggest hits, “Moanin’” by Art Blakey, begins our trip. Pianist Jill McCarron goes ballad on a delightful ditty, and singer Kurt Elling sings a number getting mileage these days with the Steven Feifke Bijon Watson Generation Gap Orchestra. West coaster Sonny Criss declares “THIS is how to play alto sax,” and Billie Holiday is in medium tempo on a pop number of her day. Drummer/Composer Charles Ruggiero gives us blues to lose, Poncho Sanchez and Ray Barretto each put flesh to conga, and John Coltrane plays while Johnny Hartman sings about “your girl in your arms” so intimately up and down the North American continent on syndicated radio each week. In the second hour allotted us, check out 1960 John Coltrane, right at the start of his quartet period. A pair named David Bloom and Cliff Colnot are serious but delicate when going about the making of music. Which can also be applied to Michigan State University’s guitarist Randy Napoleon, joined by singer Aubrey Johnson. Flashback to the late ‘70s, pianist Joe Sample is energetic and has different musicians offsetting his Crusaders, and we check out Charlie Parker in his early days, with the most compatible of orchestras for that moment, Jay McShann. An unknown brass man/arranger/leader, the late Jim Levendis gets his Big Band Project released, albeit posthumously. During Covid what did trombone players do? Record an “a cappella” album of course, of Connected Bones. A delightful duo of Shirley Scott and Stanley Turrentine tackle an uptempo number normally done as a ballad, and young master saxophonist Teodross Avery gets so heavy with Coltrane’s music, we have proof there are still deeper places to go in that pool. With a new chapter and a new day, we are totally free. Hacksaw Jazz.
Description of Show # 1977, 09-15-22
Mallet man Bobby Hutcherson recorded prolifically from the ‘60s until passing in 2016, here he displays amazing energy and imagination on marimba and vibraphone. The following track is a new release by very young Jeremy Wong, choosing his voice as his instrument. We focus on piano for many tracks in succession, beginning with Chick Corea’s late 1960s period, moving into the full two hands of Oscar Peterson about 1990. Peterson passed in 2007, playing with one hand following a stroke, his guitarist Herb Ellis is represented well on this same recording. Then there’s Harold Mabern, with roots in Memphis but far advanced harmonically when it came to jazz. The next pianist played is a relative unknown, but his name, Dave Flippo, alone draws attention. Our piano showcase concludes with the late Frank Kimbrough, ironically performing “You Only Live Twice” as part of a memorial album. In act two of this chapter, Rafael Greco has friended, and follows, Full Moon Hacksaw on social media. We hear Mr. Greco layering voices on top of Latin rhythms, while Irving Flores specializes in an updated and west coast version of the Cuban Danzon. Mississippi and swamp blues are heard side-by-side between Louisiana Red and an obscure single by Robert Garret. King Pleasure sings his jazz side of the blues. Organist Brian Charette is relatively new on the scene, with recent releases from which we spin. Tim Fitzgerald is a remarkable guitarist seemingly out of the chute with a newie dedicated to Wes Montgomery. The Jazz Professors have high art trends, while vocalist June Christy wants no work today, preferring Easy Street. Finally trumpet great Lee Morgan stands at a fork in the road, should he take it? With a side of shuffle and a shot swing, we offer a full menu of Hacksaw Jazz.
Description of Show # 1974, 09-08-22
Won’t be long ’til we get things right, gonna do our business in the broad daylight. Every decade from the ‘40s to the ‘20s is represented in two hours. Horace Silver and the Brecker brothers kick it off, then with a spiritual note Don Hanson plays sax while Joy Hanson sings. We stay with saxes a while, like Todd Herbert’s Quartet and Nicholas Ojeda. Rodney Jones was simply a smoking guitarist even at age 22, Ruben Blades remakes a ‘70s hit in the 20-teens right down to replicating the police siren with his voice. Muddy Waters is the heaviest, and saxophonist Joe Thomas blows his brains out. Eddie C. Campbell is more sophisticated in his ‘90s Chicago, and our favorite blues guitarist from Serbia, Ana Popovich, is really into her performance to wrap act one. In our second hour of the “radiocast,” Benny Goodman swings like mad on his clarinet, welcoming friends Flip Phillips on sax, Jack Sheldon trumpet, Bill Harris trombone and Red Norvo on vibes. Harry Connick Jr. is leader/vocalist and pianist, with guest Frank Wess on sax. Keyboardist Michael Carabello has released a new EP, and Carlos Santana adds guitar to the track we spin. Lauren Henderson is a multi-lingual vocalist bringing us to old Mexico this time, and we get a B3 fix from sax man Craig Handy and Dr. Lonnie Smith. Drummer Mike Clark and bassist Leon Lee Dorsey feature pianist Mike LeDonne for busy but mature music hit hard…it’s the penultimate stimulating jam. We turn to the Smithsonian piano music collection for a couple 1940s tracks, Lennie Tristano followed by Dodo Marmarosa. Mose Allison sings a version of Parchment Farm leaving out our favorite line “It won’t be long before I leave this place, gonna go somewhere join the human race.” In review he is called individualistic, "quirky", and with a subtle ironic humor. Our final selection is brand-new and big band, Steven Feifke and Bison Watson, piano and trumpet, with their Generation Gap Orchestra. Algorithms don’t pick our tracks, our values, likes, dislikes, dreams, or choices. Our record collection does. Hacksaw Jazz.
Description of Show # 1973, 09-01-22
Our voice activation and metadata is when we crack the mike and back announce a record. B3 organ starts this tour, all the pleasures of life hitting the jackpot with a Polka Dot Pinup, played by relative newcomer Brian Charette. Then into yesteryear listening to Zoot Sims on swinging sax followed by an alternative tone, Tim Lin playing tenor sax of today. If one plays trumpet, shouldn’t he be named Gabriel? If his middle and last names are Mark and Hasselback, of course he should. Tito Puente for the only time we know of welcomes pianist Eddie Palmieri, and a gang of singers going over the top. Hacksaw Caliente goes into overtime with Hilton Ruiz, Perez Prado and Chico O’Farrill spanning the Afro Cuban decades. For palette-cleansing we bring in Jacques Loussier to play Bach. We’re not sure if it’s really blues, more hot rod road music than the title “On a Hot Tin Roof,” but the spirit of StratCat Willie prevails. Demetria Taylor, daughter of legendary Chicago blues man Eddie Taylor, steps out front on her own. In our second hour Dave Brubeck’s classic quartet asks the musical question Three to get Ready? Continuing with piano, Hampton Hawes joins trombonist Curtis Fuller, then it’s more classic vinyl with Elvin Jones, James Moody and Clark Terry. Drummer Peter Kogan dedicates one track to a mysterious guitarist named Danny, which of course makes perfect sense if the guitarist is Geoff LeCrone. Bringing it down is vocalist Melody Gardot, Betty Carter sings again from the Village Vanguard, and Carmen McRae was really “Doin’ All Right.” Heading them off at the pass are a pair of small group tracks exchanging sidemen, drummer Quentin E. Baxter goes first then trumpeter Charlton Singleton is held over for his own date. Finally Duke Ellington’s Famous Orchestra, from their finest period, wails on “Cottontail” featuring Ben Webster on sax. We police the airwaves for this time slot, but could we make a jazz citizen’s arrest and remove a bad record into custody? Problem: Our record jail is full. Hacksaw Jazz.
Description of Show # 1971, 08-25-22
In the beginning, music is intense and up-tempo for saxophonist Walt Weiskopf (with drummer Anders Mogensen), and torrid tempos continue from as far back as Bud Powell and a young Sonny Rollins, both with cultish trumpeter Fats Navarro. Although it was a track from his last released recording, Cannonball Adderley’s sax still fits alongside the popular fusion music of the day. The consummate pianist Keith Jarrett always credits bassist Gary Peacock and drummer Jack DeJohnette, whereas new pianist Steve Hudson is busy and rhythmic. For our Hacksaw Caliente section, listen to Alex D’Castro from the 1990s. The Eubanks Evans Experience stands for the last names of a duet: Guitarist Kevin and pianist Orin. For our vinyl collector’s corner we cue up west coast tenor saxophonist Harold Land joining east coast trumpeter Kenny Dorham, at auction in today’s market this LP would we worth about $5. For Blues Radio Hacksaw, Albert King covers Howlin’ Wolf, and Roberto Occhipinti plays a brand of piano between Cuban and jazz. For our second hour we spin the MJQ in a classic, because everything clicks from the touch and sound of the music, to its four distinctive players, right down to the recording studio and piano’s condition. The Brecker Brothers, featuring Michael on tenor, are ON FIRE from a glimpse into their ‘70s days. Ronnie Foster’s B3 organ is like a Phoenix, rising out of a previous career decades ago for the Blue Note label, of which he returns. They don’t call Nancy Wilson a song stylist for nothing, she is sensual in a classic spin. Singer Paula Harris is powerful and Luis Deniz contributes another piano number between Cuban and jazz. Vibraphonist Chuck Redd swings it out, and for closers, two of the best big bands in history, Stan Kenton and Count Basie compare dynamics. We have the big bands, the small groups, the ballads, the vocalists, the rhythm and the groove, Hacksaw Jazz.
Description of Show # 1970, 08-18-22
Sometimes a resolution, other times an evolution, step one is to show up. From Nashville to Wheeling we go, dancing our way with David Berger and his Bumper Cars. Eddie Jefferson and Leon Thomas do some real jazz singing respectively, and trumpeter Theo Croker presents guest James Tilman over a slow hot jam. Hiromi needs no other instruments, her pianism is unlike others, each hand interchangeable whether rhythm or soloing. We travel the Spaceways, from planet to planet, with Sun Ra. Guitarist Calvin Keys layers the tapestry with a new release and trumpeter Lee Morgan plays a classic, Joe Henderson & Harold Mabern adding to the surface simplicity of a hit record. On our Facebook Live portion see us swinging ’til Wynton Kelly comes home. For hour number two, dig two similar titles, “Shaw ‘Nuff” by Supersax and “Sho ‘Nuff Did” by drummer Mel Lewis who brings in Freddie Hubbard and Michael Brecker. Guitarist Margaret Slovak defies the challenge she’s had coming back, and to commemorate the passing of an unknown regional hero, the Jim Levendis Big Band Project is now documented, with credit to good friend Len Pierro. Blues Radio Hacksaw spins Johnny Guitar Watson from 78 RPM, and Stevie Ray Vaughan maintains identical tempo from 1983. Steven Feifke brings in more new big band energy, and Clare Foster vocalizes over rhythms from Uruguay. Still-living giant Les McCann sums it up, our hope of meeting again. Deep into danger, safe & protected. Surviving the storm out there, Hacksaw Jazz.
Description of Show # 1969, 08-11-22
Giving away in order to keep, sharing our music is the thing. We hit all decades ’50s thru now this episode, we’ve got the big and small groups, vocalists, ballads, rhythms & groove. First with bassist Neil Swainson from north of our border, then very grateful for Ella Fitzgerald from a never-before-released concert, they don’t make ‘em like this any more. A couple Marcus’s and a Charlie: Todd Marcus’ Jazz Orchestra, the Charlie Hunter Quartet, and the Lenny Marcus Trio, think we’ve got all that. Stanley Clark’s bass backs John McGlaughlin’s guitar and Chick Corea’s piano for a devotional. During Blues Radio Hacksaw, witness sounds from Johnny Sansone and T-Bone Walker. We can never go wrong with Art Pepper’s alto sax from an infamous session involving a Miles rhythm section. In our second hour, we do a couple shotgun reviews, going in blind to guess the instrumentation of brand-new releases: Peter Kogan’s gotta be the drummer/leader, and Julius Rodrigues has to be the pianist/leader, right? Hope Diamond (yep, that’s her name) sings “Old Devil Moon” interpolating “Killer Joe.” As Ellington spins on the turntable, “Baby, take me down to Duke’s Place.” In tribute to Charlie Bird Parker, three alto saxophonists blow: Vincent Herring goes first and sounds coarse, Gary Bartz follows and is understated, finally Bobby Watson exhibits the most abandon. Pianist Oscar Peterson plays Gershwin, and Tito Puente’s orchestra welcomes another Oscar: Singer/bassist Oscar D’Leon. Poncho Sanchez converts a Cuban danzon into a cha cha cha. PJ Perry is a Canadian saxophonist, accompanied only by the piano of Bill Mays. Brazilian singer Daniela Soledade sings a bossa in samba tempo. featuring a trumpeter familiar with that music, Randy Brecker. Baton Rouge is our final stop for piano Professor Longhair. Hacksaw Jazz? Cry me a record.
Description of Show # 1968, 08-04-22
Character of action, freedom of spirit characterizes our mood this day. Starting in the collector’s corner, with Monk’s “Brilliant Corners,” worth about $13 in today’s market at auction. French singer Cyrille Aimee is backed by the energetic New Orleans Jazz Orchestra of Adonis Rose, a good match. After a few funky and happening albums, Troy Roberts surprises us with this time around with semi-smooth fare. Chris Beyt rates better alongside, a guitarist and educator who specializes in performance, electronic composition and recording sciences. The “Prez,” Lester Young, plays real swing on his sax while Chris Cain lays down the blues. Jimmy Witherspoon is presented in perhaps his most relaxed association, the Jay McShann Orchestra. Lia Booth sings up a friendly tune bordering on novelty from her “Beautiful Life,” then on to more vinyl: Bags meets Wes, meaning Milt Jackson on vibes and Wes Montgomery’s guitar. While a lot of the ‘80s was selling out, the late Michel Petrucciani was kicking ass, just listen to his prowess behind bassist Ron McClure. For our second hour, give the ladies some: Jean Fineberg & Jazzphoria featuring a solid rhythm behind horn and guitar solos. Some of Ella Fitzgerald’s best inspiration happened when being supported by Duke Ellington’s Orchestra, here on the suggestion of romance. Speaking of love, Gerald Wilson has it for sale. Wyn Pongsakorn is enough of a trumpet stylist on a Johnny Mercer tune, that his uncanny name could become household. You can tell young saxophonist Harry Allen has listened to plenty of Zoot Sims and Ben Webster, especially in the department of melody. Rafael Greco is part Latin and another part electronic. The next LP from our collector’s corner comes from pianist Vince Guaraldi, brewing up his own blend of Brazilian, and worth about $17.50 at auction in today’s market. The best pianist of all, in a melodic setting, is Oscar Peterson on “Green Dolphin Street.” Finally tenor saxophonist Hank Mobley is in great company backed by funky messengers on an original recording. It’s not procrastination, it’s what we call the divine pause. Hacksaw Jazz.
Description of Show # 1967, 07-28-22
Chet Baker’s trumpet provides a “Tidal Breeze” for our sendoff, Michigan State University’s guitarist Randy Napoleon has the right addition of Aubrey Johnson’s excellent vocal. Saxophonists Sam Dillon and Andrew Gould explore chords of the chestnut “Out of Nowhere,” and Booklyn-born Québec Superstar Ranee Lee is back, covering Celine Dion, of all people. Blues Radio Hacksaw tunes in Tommy Castro and Sean Carney, drummer Drummond (as in Billy) has a new group release, including a piano trio track. Ken Peplowski’s clarinet on top of Diego Figueiredo’s nylon guitar opens up space. And to mellow the hour out, we call on the Eric Reed Quartet with a Coltrane ballad classic. In hour number two, check out Cal Tjader w/the Escovedo brothers for a couple descargas, then it’s Pete Escovedo’s own group from a re-release. From our collector’s corner: Lee Morgan vinyl, in today’s market at auction, worth perhaps $20. The long-established Ms. Jean Carne, from the underground, sings from a new release. And Martin Bejerano is #CubanAmerican from his newie, and we spin an old 45 RPM of saxophonist Earl Bostic. We smile on our last mile: MJQ plays “Concord,” trumpeter Gabriel Mark Hasselbach plays tribute to Freddie Hubbard. George Burton channels “Power, Reciprocity, ” and profanity as implied. Phil Woods on clarinet instead of sax interprets obscure Ellington, and the episode wraps with another piano trio of equals: Andrew Nixon, Ed Croft and Joe Goretti. We’ve got the great artists from then and now, we’ve got the blues. Lively and fun, we listen to what we play. And we STILL don’t catch everything, Hacksaw Jazz.
Description of Show # 1966, 07-21-22
Deep grooves and stimulating jams mark our age, the Clayton-Hamilton Jazz Orchestra feature soloists Gilbert Castellanos trumpet and George Bohanon trombone right out of the gate. Victor Feldman continues on vibes with his delightful tempo. A new guitarist on us, Ontario’s Ross Morgan, claims Pat Martino influence and sent his newest single after hearing us on CJUM, Winnipeg. Closer to home, Barb Catlin conducts the Young Sounds and a familiar Brazilian melody is sung by Melissa Stylianou. This episode is full of new releases, for example we like Bay Area guitarist George Cotsirilos and find the Extended Trio rather interesting too. When we hear Bekka Bramlett’s soul, we hear a little Bettye Layette (but the apple doesn’t fall far. Bekka’s mother is Bonnie Bramlett). We cleanse the pallete with a short guitar interlude from Jorge Garcia, then switch to Jesse Palter, a Detroit transplant to LA, and hear a little Jane Monheit? We begin hour # 2 from the vaults, flute great joined leading mallet man of the day Milt Jackson. Before Etta James sings, there is a tempo tease, then it goes even slower. Ms. James is really in the same room with, and LISTENING TO, each soloist in this jazz setting. We offer no apology for an exact ballad tempo with melody and beauty when classic Coleman Hawkins follows. Our Hacksaw Caliente segment brings in Salsa Kolor and the mighty Mongo Santamaria, then we cruise for a half hour of continued control like the Billy Taylor Trio, Ellington with Strayhorn, the piano reflection of the late Jessica Williams, the blues of Charlie Parker and finally partnership in the blues with Kenny Neal and Christone Kingfish Ingram. Purity in personal freedom & taste, Hacksaw Jazz.
Description of Show # 1965, 7-14-22
Our microphones and players are hot 24/7 just waiting. Spike Wilner is a winner with his quintet featuring trumpeter Ryan Kysor. We can “hear” the tail fins on the vintage model of a Shorty Roger’s classic. Native Soul is an ensemble with a sound capturing post-post bop, that is to say brass and reeds in harmonic arrangement. And for something different? Legend Lazy Lester’s Louisiana. We are saddened to report, in an article posted on Full Moon Hacksaw’s Facebook page, that trombonist Grachan Moncur III has passed. We hear Mr. Moncur’s participation this time on a Jackie McLean Blue Note session. Art Blakey and Quintet are in fine form one evening in 1954 from Birdland, featuring “new trumpet sensation” Clifford Brown. Magnificent Muddy Waters provides a stellar recording with the seldom-heard Big Walter Horton playing harmonica. King Pleasure was born Clarence Beeks, and recorded only a handful of vocal albums in the ‘50s and ‘60s. From among this week’s new releases, may we offer Aaron Aranita, a multi-reed player with his group Eastbound. In hour # 2 drummer/composer/leader Tony Williams offers yet another contribution of first-class music. From an all-star session for the label WJ3, enjoy the trumpet of Jeremy Pelt and piano of Isaiah Thompson. For flow in our music, may we present guitarist Kenny Burrell, with the finest of taste. In our Latin corner “Hacksaw Caliente,” you’ll hear the group Melaza and a relaxed vintage track from Mongo Santamaria. Yannick Riu is a mysterious new saxophonist we’re processing, where does he come from? What’s his persona, musically and geographically? We can only follow with the intensity of McCoy Tyner’s piano, having taken up where his former employer John Coltrane left off. For a release, let’s go after hours with Nat King Cole on piano and vocal, welcoming the swinging violin of Stuff Smith, even at relaxed tempos. A good combination for departure is Tadd Dameron’s writing and Red Garland’s piano and group, including the aforementioned John Coltrane on sax. Sending jazz listeners for over 45 years, Hacksaw Jazz.
Description of Show # 1964, 7-7-22
The turntable must first be warmed up, so we start with saxophonist Paul Desmond, flutist Clifford Jordan and singer Dakota Staton. Next, New Moon Hacksaw means new releases. Life imitates art with living, breathing evolution; Canadian pianist Kate Wyatt separates “Artifact” into Art-If-Act. Our trust of her respect to Billy Strayhorn as a composer is notable, and so vocalist Vicki Burns follows with more from the said icon. Duke Ellington always comes up in this conversation, so we spin his “Mellow Tone.” Organist Brian Charette continues our new releases and with just the appropriate shift comes alto saxist Phil Woods and his innovative European Rhythm Machine. For our second hour, a valuable collector’s item is heard by pianist Bobby Timmons with high-level sideman. Drummer/leader Jeff Hamilton and his trio follow, then it’s a two-lady, Cuban piano and Venezuelan violin duet recording. Fleur Seule is a retro jazz band, featuring writer/singer/frontwoman Allyson Briggs aka “La Rubia de la Salsa.” She is Puerto Rican by marriage. Pianist/composer Joel A. Martin has registered his signature Jazzical® in tribute to Armenian legend Komitas Vartapet re-imagined. David Larson is a busy baritone saxophone soloist-composer-educator as Director of instrumental studies at Spokane Falls Community College. Blues Radio Hacksaw features another track from the WildRoots label, Mark Hodgson takes a turn. Red Prysock blows his brains out on honking screaming tenor sax, Little Charlie and the Nightcats can’t keep it up, and Chicago legend Jimmy Rogers is outward bound. Anymore, the morning after is much more important than the night before: Hacksaw Jazz.
Description of Show # 1963, 6-30-22
What seems like procrastination might just be “the divine pause.” Which is where styles like Stan Kenton’s orchestra and Donald Byrd’s boogaloo era may have been for a while in our archives, but alongside we also find names like the obscure trombonist Albert Manglesdorff, who you don’t wanna mess with. Blues either categorize or name a couple lady singers entries, Karen Lovely and Le Perez. Then it’s energy: WOW! Trumpeter Red Rodney hosts (still-living) trumpeter Sam Noto. Thad Jones and Mel Lewis are engaged in heavy ensemble jamming for our weekly Facebook Live video, and to continue new releases, Canadian Jazz Songstress Katie Ditschun sings serious emotion. For our second hour, saxophonist Ned Otter displays mature tenor stylings. Our Hacksaw Caliente portion brings on Mondo Eleven followed by Yolanda Duke paying tribute to Aretha. One of the best of all time, Ella Fitzgerald, sings a swing tune and Joe Henderson’s Big Band features Chick Corea’s piano. We listen to what we play and still don’t catch everything, was that a Joe Turner record cruising thru early rock & roll? Pianist Ray Bryant is heard on a ’59 reissue and Armenian singer Lucy Yeghiazaryan is a true natural (other effective singers of today just have to work at it a little harder). Drummer/leader Aaron Seeber is respectful, interpreting a charming Mingus melody (though no one can ever out-do certain personal interpretations). Another drummer/leader Dave Robbins and his group get five stars for high-level ensemble playing DYNAMICALLY. We believe jazz provides a fresh sound as an alternative to other formats heard on radio, Hacksaw Jazz.
Description of Show # 1962, 6-23-22
Supersax provides a good wall of sound to open, the group celebrates the solos of Charlie Parker. The first new release this episode is by saxophonist Jacob Chung, with the quality of ensemble work next to the best. Speaking of which, the master of tenor sax ballad must belong to Ben Webster. Octobop is named for its eight-piece size, here performing a seldom heard tune from way back called “The Wind.” For a jazz classic, witness Jimmy Smith backed by Oliver Nelson, walking on the wild side. We review a summer ’22 rebooted blues festival from the circuit, including sets from Lisa Mann of the Pacific northwest. She is followed by Mr. Sip, as in Mississippi, and from elsewhere in that state, the ever-traveling Cedric Burnside. Eddie Palmieri concludes our first hour, from a 2018 release. Lady singer Nancy Kelly turns out a good single from her latest album, alto saxophonist Jessie Davis is delicate as can be on “Body and Soul,” for today’s ears. More new releases come our way, like Aaron Aranita & Eastbound hinting at Latin. Giving the drummers some, TS Monk goes first, from a 2016 recording just now released, followed by Tony Williams, an all-around musician, bringing along the late vibraphonist Bobby Hutcherson. Blossom Dearie’s voice and piano is captured from London, Joey Alexander has just released an all-original album featuring Chris Potter’s sax. And a lady guitarist is our pick to click for the week, Manitoba’s Jocelyn Gould earns high marks, especially alongside today’s generation, when it comes to noticeable originality. With a full moon as a backdrop, and life imitating art, the adventure lives and breathes continued evolution. Hacksaw Jazz.
Description of Show # 1961, 6-16-22
Continuing where left off, moving along as we always do, “Let’s get Back to the Blues.” We compare styles, regions, generations and even record labels for 30 straight minutes. Artists are Billy Branch, Lurrie Bell, Earl King, Gospel Hummingbirds, Willis Jackson, Jimmy Vaughan, Little Mack Simmons and Robert Jr. Lockwood. Nylon string guitarist Nate Najar is really into a definitive album of jazz history, duplicating all its tracks and renaming the classic “Jazz Samba Forever.” Helping on this remake, first as guest vocalist, is Daniela Soledad. Her performance inspires us to follow with her own recording, sung In English. It’s not often that two drummers write two different jazz charts of the same name. From Charles Ruggiero’s new album first, followed by Marvin Smitty Smith (bringing with him trumpeter Wallace Roney in the 1980s), listen to each drummer/leader perform what they both call “The Creeper.” Consummate pianist Jill McCaron honors stalwart big-name musicians who inspired her in a new release. Count Basie brings together a jam session instead of his orchestra to begin our act two, listen to Eddie Davis, Zoot Sims, Harry Edison, and JJ Johnson solo with “The Count.” Saxophonist Stan Getz plays a standard ballad recorded 1977 which is even more moving today. Compared to the current mentality, Getz has aged like a fine wine. For a Latin jazz offering we bring you Conexion Latina, and for what we might call a Spanish touch, a new release from acoustic guitarist Oscar Penas. Pianist Eric Reed has Bebophobia with just sax and bass, then we apply “The Salve:” Sarah Vaughan, taking us back to Brazil. Tito Puente’s Latin Jazz Ensemble lets it rain, and even drummer Elvin Jones gets in the act, playing a Brazilian standard in jazz tempo. Finally we are sufficiently impressed with singer Shiri Zorn that we play more from her new release, also Brazilian in nature. Food for the soul, along with other fine healing properties of our music, Hacksaw Jazz.
Description of Show # 1960, 6-9-22
The 1940s thru today’s new jazz releases are covered this episode. Current names like pianist Sven Anderson and orchestra leader Len Pierro stimulate in a way that drummer man Gene Krupa did when jazz was really pop music. (Stars of the past like that are worth an entire album side or two, which can be done on live radio). On the low end of the saxophone is Ronnie Cuber (utilizing Eddie Palmieri at the piano). Michael Kocour is a monster keyboard man, known for his educational prowess, this time playing organ and bass. We enjoy pacing our music, bringing it down mellow with Stanley Clarke and John McGlaughlin. The next new release comes from saxophonist Evan Drybread (a great jazz name). Vocalist Catherine Russell is hot on the scene at the moment, she’s old-time and hip simultaneously. Vintage Flora Purim goes next on a similar theme. Buddy Collette was a saxophonist as part of a dime-store Wardell Gray LP, they had us buffalo’d! The swinging of our music continues into our second hour, listening to Zoot Sims play sax with Oscar Peterson’s piano makes it all worthwhile. Our Facebook Live section features David Murray’s sax and Sista Kee’s singing, followed by young saxophonist Obed Tzur from a new ECM label release. Due to her multi-octave range, we always treasure listening to the late Phoebe Snow. Who unknowingly puts many of today’s female vocalists to shame. Newly released music continues with young men of different-aged souls, saxophonist Grant Stewart and “old school” trumpeter Bruce Harris precede a track by “electric” trumpeter Bill Ortiz. Then we spin a dated, but enjoyable, track by Miguelito Valdez, an exciting Latin giant of our music’s past. Ray Barretto continues in this vein from the 1980s, and we conclude with the Arkansas blues of Lonnie Shields. Musical question: Why would we play a tribute to anyone, or a cover, when we could be playing the original? Answer: Only if the remake is BETTER. Hacksaw Jazz.
Description of Show # 1959, 6-2-22
Purpose, flow and direction is aloted us at times, perhaps during moments of this week’s audio. 1995’s Charlie Hunter Trio is happening, innovative and multi-talented was drummer/composer/leader Tony Williams. From a recent release comes saxophonist Chad Lefkowitz-Brown to play tenor sax on Stevie Wonder. Abdullah Ibrahim takes South African inspiration from one of his earlier sessions under birth name Dollar Brand, and jazz guitar is a family affair with Jay Roberts employing organist Joey DeFrancesco and remembering papa Howard Roberts. Our Facebook Live video shows the red vinyl of LP “Mambo with Tjader” while the radio transmits it, and one of our new released introduces saxophonist Don Hanson, way up in high register, in which a little bit goes a long way. The first hour culls from our collectors corner blues classics: Louisiana sounds from Slim Harpo and travelin’ man Little Milton, a Mississippian on a valuable Memphis Sun Records session. In hour # 2 the mighty Mongo Santamaria demonstrates a solid groove, Charles Mingus takes over the piano for collective madness, encouraging the barnyard sounds of saxophonist Roland Kirk. An absolutely awesome new singer named Shiri Zorn is pitch-perfect out of the gate, followed by Milt Jackson’s vibraphone, practically overshadowed by trumpeter and composer Freddie Hubbard on the same session. Toshiko’s first name alone is synonymous with piano, her husband of the early 1960s was saxophonist Charlie Mariano. Back into our collector’s corner for fabulous jam session of Red Nerve’s vibes, Flip Phillips’ tenor sax, the piano of Teddy Wilson, then modernists Dizzy Gillespie and Charlie Parker (separated only by bassist Slam Stewart). Ella Fitzgerald’s voice is heard from her 1970s period, and may we say the touch on piano from Oscar Peterson behind her makes everything all worthwhile. Alberta pianist Andrea Petrity provides a fresh sound from the often-times-tired piano trio format, and we conclude this opus with Cuban Julio Gutierrez demonstrating a Montuno rhythm within the Cha Cha Cha. Our music plus radio plus a time to share equals a sum total of what we’re supposed to be doing, Hacksaw Jazz.
Description of Show # 1958, 5-26-22
Taking up where we left off, all decades from the 1950s thru the 2020s are covered this week. Beginning in our own back yard, one of the best Young Sounds of Arizona editions assembled (and we’ve listened to most all thru the years), hear how they recorded around covid restrictions. Our precious and late Bob Dorough sings from among his “one album every ten years,” in 2020’s case “Too Much Coffee” (which is impossible). Veteran drummer Jimmy Cobb hosts hot players of varied ages, and Woody Herman’s unmistakable sound pays tribute to Horace Silver. For Blues Radio Hacksaw, stay tuned for the Blue Chevys’ new release and a BB King classic. We found a couple different tracks with the same title, “Pinocchio.” We demonstrate how separate the songs really are, first with blues man William Clarke, the other composition (using the same name) played by violinist Zbigniew Seifert (unfortunately each musician from among his last recordings). To change things up we throw in one of today’s hottest guitarists, Dave Stryker. Then we hear “Truth Honor & Happiness, and one thing more…” Sung first by Lambert Hendricks and Ross, then the real answer from Leon Thomas. Moving along as we always do, it’s almost impossible to remake recordings of a standout original. But the Mingus Dynasty here is qualified as this version is populated by former Charles Mingus musicians. One singer we like a lot is Vanessa Rubin, here singing a Duke Ellington beauty. Another new release follows, from trombonist Ryan Keberle, and then we heat it up once more from the salsa section as Machito performs “Hacksaw Caliente.” Bassist John Lee is a new name on us, here supported by saxophonist Cory Weeds. Two saxophonists who no one else can ever sound like are named Coleman Hawkins and Ben Webster, and we’ve got ‘em together. One more lady singer in Patty Peterson and one more Latin giant in Tito Puente, and what we have is the full moon as a backdrop, thru half moon Hacksaw, and all the way thru to the epochal eclipse. Hacksaw Jazz and Blues.
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.
Mr. Blues, Hank Crawford, the sax man from the Ray Charles band, starts our show from the 1990s and a particularly poignant singer named Rene Marie follows, with guest saxophonist Chris Potter. More from the ladies, Maria Muldaur sings next then we get an unexpected and intimate nylon solo guitar performance from Peter Janson. Gerald Wilson and Richard Groove Holmes (orchestra and organ) pay tribute to John Coltrane. Salsa and samba are a good combination today, we get a double play from the great Machito, and then a revisit to the 1970s when Ms. Ernestine Anderson was enjoying a second singing career, we are saddened she died in 2016 at age 87. Newcomer Catherine Russell is all the praises the reviewers are giving her, here she sings and nails an old Dakota Staton number. For a newie in old-timey rhythm, listen to Sweet Meg and Ricky Alexander. A classic himself, saxophonist Scott Hamilton plays a classic from his new release (he moved to London 2007), with Jan Lundgren on piano. For Act Two we start with contemporary guitarist David Blake including notable backing, the sanctified mallet man Milt Jackson cooks along in the 1970s with electric piano by Cedar Walton. Jimmy Forrest is comfortably relaxed and swinging on “Robbin’s Nest,” then a total turnabout: One of several new vibraphonists recording jazz today, Jalen Baker. Gene Ammons and Sonny Stitt duke it out on saxophones and the orchestra of Toshiko Akiyoshi and Lew Tabakin feature trumpeter Steve Huffsteader and probably Gary Foster also sax. We conclude proceedings by reviewing a couple new blues releases, one from the Texas Horns and another from an act called Breezy Rodio. A side of shuffle and a shot of swing, Hacksaw Jazz.
Description of Show # 1978, 09-22-22
Our ingredients are organic, no chemical additives like other radio casts might add. One of jazz’s biggest hits, “Moanin’” by Art Blakey, begins our trip. Pianist Jill McCarron goes ballad on a delightful ditty, and singer Kurt Elling sings a number getting mileage these days with the Steven Feifke Bijon Watson Generation Gap Orchestra. West coaster Sonny Criss declares “THIS is how to play alto sax,” and Billie Holiday is in medium tempo on a pop number of her day. Drummer/Composer Charles Ruggiero gives us blues to lose, Poncho Sanchez and Ray Barretto each put flesh to conga, and John Coltrane plays while Johnny Hartman sings about “your girl in your arms” so intimately up and down the North American continent on syndicated radio each week. In the second hour allotted us, check out 1960 John Coltrane, right at the start of his quartet period. A pair named David Bloom and Cliff Colnot are serious but delicate when going about the making of music. Which can also be applied to Michigan State University’s guitarist Randy Napoleon, joined by singer Aubrey Johnson. Flashback to the late ‘70s, pianist Joe Sample is energetic and has different musicians offsetting his Crusaders, and we check out Charlie Parker in his early days, with the most compatible of orchestras for that moment, Jay McShann. An unknown brass man/arranger/leader, the late Jim Levendis gets his Big Band Project released, albeit posthumously. During Covid what did trombone players do? Record an “a cappella” album of course, of Connected Bones. A delightful duo of Shirley Scott and Stanley Turrentine tackle an uptempo number normally done as a ballad, and young master saxophonist Teodross Avery gets so heavy with Coltrane’s music, we have proof there are still deeper places to go in that pool. With a new chapter and a new day, we are totally free. Hacksaw Jazz.
Description of Show # 1977, 09-15-22
Mallet man Bobby Hutcherson recorded prolifically from the ‘60s until passing in 2016, here he displays amazing energy and imagination on marimba and vibraphone. The following track is a new release by very young Jeremy Wong, choosing his voice as his instrument. We focus on piano for many tracks in succession, beginning with Chick Corea’s late 1960s period, moving into the full two hands of Oscar Peterson about 1990. Peterson passed in 2007, playing with one hand following a stroke, his guitarist Herb Ellis is represented well on this same recording. Then there’s Harold Mabern, with roots in Memphis but far advanced harmonically when it came to jazz. The next pianist played is a relative unknown, but his name, Dave Flippo, alone draws attention. Our piano showcase concludes with the late Frank Kimbrough, ironically performing “You Only Live Twice” as part of a memorial album. In act two of this chapter, Rafael Greco has friended, and follows, Full Moon Hacksaw on social media. We hear Mr. Greco layering voices on top of Latin rhythms, while Irving Flores specializes in an updated and west coast version of the Cuban Danzon. Mississippi and swamp blues are heard side-by-side between Louisiana Red and an obscure single by Robert Garret. King Pleasure sings his jazz side of the blues. Organist Brian Charette is relatively new on the scene, with recent releases from which we spin. Tim Fitzgerald is a remarkable guitarist seemingly out of the chute with a newie dedicated to Wes Montgomery. The Jazz Professors have high art trends, while vocalist June Christy wants no work today, preferring Easy Street. Finally trumpet great Lee Morgan stands at a fork in the road, should he take it? With a side of shuffle and a shot swing, we offer a full menu of Hacksaw Jazz.
Description of Show # 1974, 09-08-22
Won’t be long ’til we get things right, gonna do our business in the broad daylight. Every decade from the ‘40s to the ‘20s is represented in two hours. Horace Silver and the Brecker brothers kick it off, then with a spiritual note Don Hanson plays sax while Joy Hanson sings. We stay with saxes a while, like Todd Herbert’s Quartet and Nicholas Ojeda. Rodney Jones was simply a smoking guitarist even at age 22, Ruben Blades remakes a ‘70s hit in the 20-teens right down to replicating the police siren with his voice. Muddy Waters is the heaviest, and saxophonist Joe Thomas blows his brains out. Eddie C. Campbell is more sophisticated in his ‘90s Chicago, and our favorite blues guitarist from Serbia, Ana Popovich, is really into her performance to wrap act one. In our second hour of the “radiocast,” Benny Goodman swings like mad on his clarinet, welcoming friends Flip Phillips on sax, Jack Sheldon trumpet, Bill Harris trombone and Red Norvo on vibes. Harry Connick Jr. is leader/vocalist and pianist, with guest Frank Wess on sax. Keyboardist Michael Carabello has released a new EP, and Carlos Santana adds guitar to the track we spin. Lauren Henderson is a multi-lingual vocalist bringing us to old Mexico this time, and we get a B3 fix from sax man Craig Handy and Dr. Lonnie Smith. Drummer Mike Clark and bassist Leon Lee Dorsey feature pianist Mike LeDonne for busy but mature music hit hard…it’s the penultimate stimulating jam. We turn to the Smithsonian piano music collection for a couple 1940s tracks, Lennie Tristano followed by Dodo Marmarosa. Mose Allison sings a version of Parchment Farm leaving out our favorite line “It won’t be long before I leave this place, gonna go somewhere join the human race.” In review he is called individualistic, "quirky", and with a subtle ironic humor. Our final selection is brand-new and big band, Steven Feifke and Bison Watson, piano and trumpet, with their Generation Gap Orchestra. Algorithms don’t pick our tracks, our values, likes, dislikes, dreams, or choices. Our record collection does. Hacksaw Jazz.
Description of Show # 1973, 09-01-22
Our voice activation and metadata is when we crack the mike and back announce a record. B3 organ starts this tour, all the pleasures of life hitting the jackpot with a Polka Dot Pinup, played by relative newcomer Brian Charette. Then into yesteryear listening to Zoot Sims on swinging sax followed by an alternative tone, Tim Lin playing tenor sax of today. If one plays trumpet, shouldn’t he be named Gabriel? If his middle and last names are Mark and Hasselback, of course he should. Tito Puente for the only time we know of welcomes pianist Eddie Palmieri, and a gang of singers going over the top. Hacksaw Caliente goes into overtime with Hilton Ruiz, Perez Prado and Chico O’Farrill spanning the Afro Cuban decades. For palette-cleansing we bring in Jacques Loussier to play Bach. We’re not sure if it’s really blues, more hot rod road music than the title “On a Hot Tin Roof,” but the spirit of StratCat Willie prevails. Demetria Taylor, daughter of legendary Chicago blues man Eddie Taylor, steps out front on her own. In our second hour Dave Brubeck’s classic quartet asks the musical question Three to get Ready? Continuing with piano, Hampton Hawes joins trombonist Curtis Fuller, then it’s more classic vinyl with Elvin Jones, James Moody and Clark Terry. Drummer Peter Kogan dedicates one track to a mysterious guitarist named Danny, which of course makes perfect sense if the guitarist is Geoff LeCrone. Bringing it down is vocalist Melody Gardot, Betty Carter sings again from the Village Vanguard, and Carmen McRae was really “Doin’ All Right.” Heading them off at the pass are a pair of small group tracks exchanging sidemen, drummer Quentin E. Baxter goes first then trumpeter Charlton Singleton is held over for his own date. Finally Duke Ellington’s Famous Orchestra, from their finest period, wails on “Cottontail” featuring Ben Webster on sax. We police the airwaves for this time slot, but could we make a jazz citizen’s arrest and remove a bad record into custody? Problem: Our record jail is full. Hacksaw Jazz.
Description of Show # 1971, 08-25-22
In the beginning, music is intense and up-tempo for saxophonist Walt Weiskopf (with drummer Anders Mogensen), and torrid tempos continue from as far back as Bud Powell and a young Sonny Rollins, both with cultish trumpeter Fats Navarro. Although it was a track from his last released recording, Cannonball Adderley’s sax still fits alongside the popular fusion music of the day. The consummate pianist Keith Jarrett always credits bassist Gary Peacock and drummer Jack DeJohnette, whereas new pianist Steve Hudson is busy and rhythmic. For our Hacksaw Caliente section, listen to Alex D’Castro from the 1990s. The Eubanks Evans Experience stands for the last names of a duet: Guitarist Kevin and pianist Orin. For our vinyl collector’s corner we cue up west coast tenor saxophonist Harold Land joining east coast trumpeter Kenny Dorham, at auction in today’s market this LP would we worth about $5. For Blues Radio Hacksaw, Albert King covers Howlin’ Wolf, and Roberto Occhipinti plays a brand of piano between Cuban and jazz. For our second hour we spin the MJQ in a classic, because everything clicks from the touch and sound of the music, to its four distinctive players, right down to the recording studio and piano’s condition. The Brecker Brothers, featuring Michael on tenor, are ON FIRE from a glimpse into their ‘70s days. Ronnie Foster’s B3 organ is like a Phoenix, rising out of a previous career decades ago for the Blue Note label, of which he returns. They don’t call Nancy Wilson a song stylist for nothing, she is sensual in a classic spin. Singer Paula Harris is powerful and Luis Deniz contributes another piano number between Cuban and jazz. Vibraphonist Chuck Redd swings it out, and for closers, two of the best big bands in history, Stan Kenton and Count Basie compare dynamics. We have the big bands, the small groups, the ballads, the vocalists, the rhythm and the groove, Hacksaw Jazz.
Description of Show # 1970, 08-18-22
Sometimes a resolution, other times an evolution, step one is to show up. From Nashville to Wheeling we go, dancing our way with David Berger and his Bumper Cars. Eddie Jefferson and Leon Thomas do some real jazz singing respectively, and trumpeter Theo Croker presents guest James Tilman over a slow hot jam. Hiromi needs no other instruments, her pianism is unlike others, each hand interchangeable whether rhythm or soloing. We travel the Spaceways, from planet to planet, with Sun Ra. Guitarist Calvin Keys layers the tapestry with a new release and trumpeter Lee Morgan plays a classic, Joe Henderson & Harold Mabern adding to the surface simplicity of a hit record. On our Facebook Live portion see us swinging ’til Wynton Kelly comes home. For hour number two, dig two similar titles, “Shaw ‘Nuff” by Supersax and “Sho ‘Nuff Did” by drummer Mel Lewis who brings in Freddie Hubbard and Michael Brecker. Guitarist Margaret Slovak defies the challenge she’s had coming back, and to commemorate the passing of an unknown regional hero, the Jim Levendis Big Band Project is now documented, with credit to good friend Len Pierro. Blues Radio Hacksaw spins Johnny Guitar Watson from 78 RPM, and Stevie Ray Vaughan maintains identical tempo from 1983. Steven Feifke brings in more new big band energy, and Clare Foster vocalizes over rhythms from Uruguay. Still-living giant Les McCann sums it up, our hope of meeting again. Deep into danger, safe & protected. Surviving the storm out there, Hacksaw Jazz.
Description of Show # 1969, 08-11-22
Giving away in order to keep, sharing our music is the thing. We hit all decades ’50s thru now this episode, we’ve got the big and small groups, vocalists, ballads, rhythms & groove. First with bassist Neil Swainson from north of our border, then very grateful for Ella Fitzgerald from a never-before-released concert, they don’t make ‘em like this any more. A couple Marcus’s and a Charlie: Todd Marcus’ Jazz Orchestra, the Charlie Hunter Quartet, and the Lenny Marcus Trio, think we’ve got all that. Stanley Clark’s bass backs John McGlaughlin’s guitar and Chick Corea’s piano for a devotional. During Blues Radio Hacksaw, witness sounds from Johnny Sansone and T-Bone Walker. We can never go wrong with Art Pepper’s alto sax from an infamous session involving a Miles rhythm section. In our second hour, we do a couple shotgun reviews, going in blind to guess the instrumentation of brand-new releases: Peter Kogan’s gotta be the drummer/leader, and Julius Rodrigues has to be the pianist/leader, right? Hope Diamond (yep, that’s her name) sings “Old Devil Moon” interpolating “Killer Joe.” As Ellington spins on the turntable, “Baby, take me down to Duke’s Place.” In tribute to Charlie Bird Parker, three alto saxophonists blow: Vincent Herring goes first and sounds coarse, Gary Bartz follows and is understated, finally Bobby Watson exhibits the most abandon. Pianist Oscar Peterson plays Gershwin, and Tito Puente’s orchestra welcomes another Oscar: Singer/bassist Oscar D’Leon. Poncho Sanchez converts a Cuban danzon into a cha cha cha. PJ Perry is a Canadian saxophonist, accompanied only by the piano of Bill Mays. Brazilian singer Daniela Soledade sings a bossa in samba tempo. featuring a trumpeter familiar with that music, Randy Brecker. Baton Rouge is our final stop for piano Professor Longhair. Hacksaw Jazz? Cry me a record.
Description of Show # 1968, 08-04-22
Character of action, freedom of spirit characterizes our mood this day. Starting in the collector’s corner, with Monk’s “Brilliant Corners,” worth about $13 in today’s market at auction. French singer Cyrille Aimee is backed by the energetic New Orleans Jazz Orchestra of Adonis Rose, a good match. After a few funky and happening albums, Troy Roberts surprises us with this time around with semi-smooth fare. Chris Beyt rates better alongside, a guitarist and educator who specializes in performance, electronic composition and recording sciences. The “Prez,” Lester Young, plays real swing on his sax while Chris Cain lays down the blues. Jimmy Witherspoon is presented in perhaps his most relaxed association, the Jay McShann Orchestra. Lia Booth sings up a friendly tune bordering on novelty from her “Beautiful Life,” then on to more vinyl: Bags meets Wes, meaning Milt Jackson on vibes and Wes Montgomery’s guitar. While a lot of the ‘80s was selling out, the late Michel Petrucciani was kicking ass, just listen to his prowess behind bassist Ron McClure. For our second hour, give the ladies some: Jean Fineberg & Jazzphoria featuring a solid rhythm behind horn and guitar solos. Some of Ella Fitzgerald’s best inspiration happened when being supported by Duke Ellington’s Orchestra, here on the suggestion of romance. Speaking of love, Gerald Wilson has it for sale. Wyn Pongsakorn is enough of a trumpet stylist on a Johnny Mercer tune, that his uncanny name could become household. You can tell young saxophonist Harry Allen has listened to plenty of Zoot Sims and Ben Webster, especially in the department of melody. Rafael Greco is part Latin and another part electronic. The next LP from our collector’s corner comes from pianist Vince Guaraldi, brewing up his own blend of Brazilian, and worth about $17.50 at auction in today’s market. The best pianist of all, in a melodic setting, is Oscar Peterson on “Green Dolphin Street.” Finally tenor saxophonist Hank Mobley is in great company backed by funky messengers on an original recording. It’s not procrastination, it’s what we call the divine pause. Hacksaw Jazz.
Description of Show # 1967, 07-28-22
Chet Baker’s trumpet provides a “Tidal Breeze” for our sendoff, Michigan State University’s guitarist Randy Napoleon has the right addition of Aubrey Johnson’s excellent vocal. Saxophonists Sam Dillon and Andrew Gould explore chords of the chestnut “Out of Nowhere,” and Booklyn-born Québec Superstar Ranee Lee is back, covering Celine Dion, of all people. Blues Radio Hacksaw tunes in Tommy Castro and Sean Carney, drummer Drummond (as in Billy) has a new group release, including a piano trio track. Ken Peplowski’s clarinet on top of Diego Figueiredo’s nylon guitar opens up space. And to mellow the hour out, we call on the Eric Reed Quartet with a Coltrane ballad classic. In hour number two, check out Cal Tjader w/the Escovedo brothers for a couple descargas, then it’s Pete Escovedo’s own group from a re-release. From our collector’s corner: Lee Morgan vinyl, in today’s market at auction, worth perhaps $20. The long-established Ms. Jean Carne, from the underground, sings from a new release. And Martin Bejerano is #CubanAmerican from his newie, and we spin an old 45 RPM of saxophonist Earl Bostic. We smile on our last mile: MJQ plays “Concord,” trumpeter Gabriel Mark Hasselbach plays tribute to Freddie Hubbard. George Burton channels “Power, Reciprocity, ” and profanity as implied. Phil Woods on clarinet instead of sax interprets obscure Ellington, and the episode wraps with another piano trio of equals: Andrew Nixon, Ed Croft and Joe Goretti. We’ve got the great artists from then and now, we’ve got the blues. Lively and fun, we listen to what we play. And we STILL don’t catch everything, Hacksaw Jazz.
Description of Show # 1966, 07-21-22
Deep grooves and stimulating jams mark our age, the Clayton-Hamilton Jazz Orchestra feature soloists Gilbert Castellanos trumpet and George Bohanon trombone right out of the gate. Victor Feldman continues on vibes with his delightful tempo. A new guitarist on us, Ontario’s Ross Morgan, claims Pat Martino influence and sent his newest single after hearing us on CJUM, Winnipeg. Closer to home, Barb Catlin conducts the Young Sounds and a familiar Brazilian melody is sung by Melissa Stylianou. This episode is full of new releases, for example we like Bay Area guitarist George Cotsirilos and find the Extended Trio rather interesting too. When we hear Bekka Bramlett’s soul, we hear a little Bettye Layette (but the apple doesn’t fall far. Bekka’s mother is Bonnie Bramlett). We cleanse the pallete with a short guitar interlude from Jorge Garcia, then switch to Jesse Palter, a Detroit transplant to LA, and hear a little Jane Monheit? We begin hour # 2 from the vaults, flute great joined leading mallet man of the day Milt Jackson. Before Etta James sings, there is a tempo tease, then it goes even slower. Ms. James is really in the same room with, and LISTENING TO, each soloist in this jazz setting. We offer no apology for an exact ballad tempo with melody and beauty when classic Coleman Hawkins follows. Our Hacksaw Caliente segment brings in Salsa Kolor and the mighty Mongo Santamaria, then we cruise for a half hour of continued control like the Billy Taylor Trio, Ellington with Strayhorn, the piano reflection of the late Jessica Williams, the blues of Charlie Parker and finally partnership in the blues with Kenny Neal and Christone Kingfish Ingram. Purity in personal freedom & taste, Hacksaw Jazz.
Description of Show # 1965, 7-14-22
Our microphones and players are hot 24/7 just waiting. Spike Wilner is a winner with his quintet featuring trumpeter Ryan Kysor. We can “hear” the tail fins on the vintage model of a Shorty Roger’s classic. Native Soul is an ensemble with a sound capturing post-post bop, that is to say brass and reeds in harmonic arrangement. And for something different? Legend Lazy Lester’s Louisiana. We are saddened to report, in an article posted on Full Moon Hacksaw’s Facebook page, that trombonist Grachan Moncur III has passed. We hear Mr. Moncur’s participation this time on a Jackie McLean Blue Note session. Art Blakey and Quintet are in fine form one evening in 1954 from Birdland, featuring “new trumpet sensation” Clifford Brown. Magnificent Muddy Waters provides a stellar recording with the seldom-heard Big Walter Horton playing harmonica. King Pleasure was born Clarence Beeks, and recorded only a handful of vocal albums in the ‘50s and ‘60s. From among this week’s new releases, may we offer Aaron Aranita, a multi-reed player with his group Eastbound. In hour # 2 drummer/composer/leader Tony Williams offers yet another contribution of first-class music. From an all-star session for the label WJ3, enjoy the trumpet of Jeremy Pelt and piano of Isaiah Thompson. For flow in our music, may we present guitarist Kenny Burrell, with the finest of taste. In our Latin corner “Hacksaw Caliente,” you’ll hear the group Melaza and a relaxed vintage track from Mongo Santamaria. Yannick Riu is a mysterious new saxophonist we’re processing, where does he come from? What’s his persona, musically and geographically? We can only follow with the intensity of McCoy Tyner’s piano, having taken up where his former employer John Coltrane left off. For a release, let’s go after hours with Nat King Cole on piano and vocal, welcoming the swinging violin of Stuff Smith, even at relaxed tempos. A good combination for departure is Tadd Dameron’s writing and Red Garland’s piano and group, including the aforementioned John Coltrane on sax. Sending jazz listeners for over 45 years, Hacksaw Jazz.
Description of Show # 1964, 7-7-22
The turntable must first be warmed up, so we start with saxophonist Paul Desmond, flutist Clifford Jordan and singer Dakota Staton. Next, New Moon Hacksaw means new releases. Life imitates art with living, breathing evolution; Canadian pianist Kate Wyatt separates “Artifact” into Art-If-Act. Our trust of her respect to Billy Strayhorn as a composer is notable, and so vocalist Vicki Burns follows with more from the said icon. Duke Ellington always comes up in this conversation, so we spin his “Mellow Tone.” Organist Brian Charette continues our new releases and with just the appropriate shift comes alto saxist Phil Woods and his innovative European Rhythm Machine. For our second hour, a valuable collector’s item is heard by pianist Bobby Timmons with high-level sideman. Drummer/leader Jeff Hamilton and his trio follow, then it’s a two-lady, Cuban piano and Venezuelan violin duet recording. Fleur Seule is a retro jazz band, featuring writer/singer/frontwoman Allyson Briggs aka “La Rubia de la Salsa.” She is Puerto Rican by marriage. Pianist/composer Joel A. Martin has registered his signature Jazzical® in tribute to Armenian legend Komitas Vartapet re-imagined. David Larson is a busy baritone saxophone soloist-composer-educator as Director of instrumental studies at Spokane Falls Community College. Blues Radio Hacksaw features another track from the WildRoots label, Mark Hodgson takes a turn. Red Prysock blows his brains out on honking screaming tenor sax, Little Charlie and the Nightcats can’t keep it up, and Chicago legend Jimmy Rogers is outward bound. Anymore, the morning after is much more important than the night before: Hacksaw Jazz.
Description of Show # 1963, 6-30-22
What seems like procrastination might just be “the divine pause.” Which is where styles like Stan Kenton’s orchestra and Donald Byrd’s boogaloo era may have been for a while in our archives, but alongside we also find names like the obscure trombonist Albert Manglesdorff, who you don’t wanna mess with. Blues either categorize or name a couple lady singers entries, Karen Lovely and Le Perez. Then it’s energy: WOW! Trumpeter Red Rodney hosts (still-living) trumpeter Sam Noto. Thad Jones and Mel Lewis are engaged in heavy ensemble jamming for our weekly Facebook Live video, and to continue new releases, Canadian Jazz Songstress Katie Ditschun sings serious emotion. For our second hour, saxophonist Ned Otter displays mature tenor stylings. Our Hacksaw Caliente portion brings on Mondo Eleven followed by Yolanda Duke paying tribute to Aretha. One of the best of all time, Ella Fitzgerald, sings a swing tune and Joe Henderson’s Big Band features Chick Corea’s piano. We listen to what we play and still don’t catch everything, was that a Joe Turner record cruising thru early rock & roll? Pianist Ray Bryant is heard on a ’59 reissue and Armenian singer Lucy Yeghiazaryan is a true natural (other effective singers of today just have to work at it a little harder). Drummer/leader Aaron Seeber is respectful, interpreting a charming Mingus melody (though no one can ever out-do certain personal interpretations). Another drummer/leader Dave Robbins and his group get five stars for high-level ensemble playing DYNAMICALLY. We believe jazz provides a fresh sound as an alternative to other formats heard on radio, Hacksaw Jazz.
Description of Show # 1962, 6-23-22
Supersax provides a good wall of sound to open, the group celebrates the solos of Charlie Parker. The first new release this episode is by saxophonist Jacob Chung, with the quality of ensemble work next to the best. Speaking of which, the master of tenor sax ballad must belong to Ben Webster. Octobop is named for its eight-piece size, here performing a seldom heard tune from way back called “The Wind.” For a jazz classic, witness Jimmy Smith backed by Oliver Nelson, walking on the wild side. We review a summer ’22 rebooted blues festival from the circuit, including sets from Lisa Mann of the Pacific northwest. She is followed by Mr. Sip, as in Mississippi, and from elsewhere in that state, the ever-traveling Cedric Burnside. Eddie Palmieri concludes our first hour, from a 2018 release. Lady singer Nancy Kelly turns out a good single from her latest album, alto saxophonist Jessie Davis is delicate as can be on “Body and Soul,” for today’s ears. More new releases come our way, like Aaron Aranita & Eastbound hinting at Latin. Giving the drummers some, TS Monk goes first, from a 2016 recording just now released, followed by Tony Williams, an all-around musician, bringing along the late vibraphonist Bobby Hutcherson. Blossom Dearie’s voice and piano is captured from London, Joey Alexander has just released an all-original album featuring Chris Potter’s sax. And a lady guitarist is our pick to click for the week, Manitoba’s Jocelyn Gould earns high marks, especially alongside today’s generation, when it comes to noticeable originality. With a full moon as a backdrop, and life imitating art, the adventure lives and breathes continued evolution. Hacksaw Jazz.
Description of Show # 1961, 6-16-22
Continuing where left off, moving along as we always do, “Let’s get Back to the Blues.” We compare styles, regions, generations and even record labels for 30 straight minutes. Artists are Billy Branch, Lurrie Bell, Earl King, Gospel Hummingbirds, Willis Jackson, Jimmy Vaughan, Little Mack Simmons and Robert Jr. Lockwood. Nylon string guitarist Nate Najar is really into a definitive album of jazz history, duplicating all its tracks and renaming the classic “Jazz Samba Forever.” Helping on this remake, first as guest vocalist, is Daniela Soledad. Her performance inspires us to follow with her own recording, sung In English. It’s not often that two drummers write two different jazz charts of the same name. From Charles Ruggiero’s new album first, followed by Marvin Smitty Smith (bringing with him trumpeter Wallace Roney in the 1980s), listen to each drummer/leader perform what they both call “The Creeper.” Consummate pianist Jill McCaron honors stalwart big-name musicians who inspired her in a new release. Count Basie brings together a jam session instead of his orchestra to begin our act two, listen to Eddie Davis, Zoot Sims, Harry Edison, and JJ Johnson solo with “The Count.” Saxophonist Stan Getz plays a standard ballad recorded 1977 which is even more moving today. Compared to the current mentality, Getz has aged like a fine wine. For a Latin jazz offering we bring you Conexion Latina, and for what we might call a Spanish touch, a new release from acoustic guitarist Oscar Penas. Pianist Eric Reed has Bebophobia with just sax and bass, then we apply “The Salve:” Sarah Vaughan, taking us back to Brazil. Tito Puente’s Latin Jazz Ensemble lets it rain, and even drummer Elvin Jones gets in the act, playing a Brazilian standard in jazz tempo. Finally we are sufficiently impressed with singer Shiri Zorn that we play more from her new release, also Brazilian in nature. Food for the soul, along with other fine healing properties of our music, Hacksaw Jazz.
Description of Show # 1960, 6-9-22
The 1940s thru today’s new jazz releases are covered this episode. Current names like pianist Sven Anderson and orchestra leader Len Pierro stimulate in a way that drummer man Gene Krupa did when jazz was really pop music. (Stars of the past like that are worth an entire album side or two, which can be done on live radio). On the low end of the saxophone is Ronnie Cuber (utilizing Eddie Palmieri at the piano). Michael Kocour is a monster keyboard man, known for his educational prowess, this time playing organ and bass. We enjoy pacing our music, bringing it down mellow with Stanley Clarke and John McGlaughlin. The next new release comes from saxophonist Evan Drybread (a great jazz name). Vocalist Catherine Russell is hot on the scene at the moment, she’s old-time and hip simultaneously. Vintage Flora Purim goes next on a similar theme. Buddy Collette was a saxophonist as part of a dime-store Wardell Gray LP, they had us buffalo’d! The swinging of our music continues into our second hour, listening to Zoot Sims play sax with Oscar Peterson’s piano makes it all worthwhile. Our Facebook Live section features David Murray’s sax and Sista Kee’s singing, followed by young saxophonist Obed Tzur from a new ECM label release. Due to her multi-octave range, we always treasure listening to the late Phoebe Snow. Who unknowingly puts many of today’s female vocalists to shame. Newly released music continues with young men of different-aged souls, saxophonist Grant Stewart and “old school” trumpeter Bruce Harris precede a track by “electric” trumpeter Bill Ortiz. Then we spin a dated, but enjoyable, track by Miguelito Valdez, an exciting Latin giant of our music’s past. Ray Barretto continues in this vein from the 1980s, and we conclude with the Arkansas blues of Lonnie Shields. Musical question: Why would we play a tribute to anyone, or a cover, when we could be playing the original? Answer: Only if the remake is BETTER. Hacksaw Jazz.
Description of Show # 1959, 6-2-22
Purpose, flow and direction is aloted us at times, perhaps during moments of this week’s audio. 1995’s Charlie Hunter Trio is happening, innovative and multi-talented was drummer/composer/leader Tony Williams. From a recent release comes saxophonist Chad Lefkowitz-Brown to play tenor sax on Stevie Wonder. Abdullah Ibrahim takes South African inspiration from one of his earlier sessions under birth name Dollar Brand, and jazz guitar is a family affair with Jay Roberts employing organist Joey DeFrancesco and remembering papa Howard Roberts. Our Facebook Live video shows the red vinyl of LP “Mambo with Tjader” while the radio transmits it, and one of our new released introduces saxophonist Don Hanson, way up in high register, in which a little bit goes a long way. The first hour culls from our collectors corner blues classics: Louisiana sounds from Slim Harpo and travelin’ man Little Milton, a Mississippian on a valuable Memphis Sun Records session. In hour # 2 the mighty Mongo Santamaria demonstrates a solid groove, Charles Mingus takes over the piano for collective madness, encouraging the barnyard sounds of saxophonist Roland Kirk. An absolutely awesome new singer named Shiri Zorn is pitch-perfect out of the gate, followed by Milt Jackson’s vibraphone, practically overshadowed by trumpeter and composer Freddie Hubbard on the same session. Toshiko’s first name alone is synonymous with piano, her husband of the early 1960s was saxophonist Charlie Mariano. Back into our collector’s corner for fabulous jam session of Red Nerve’s vibes, Flip Phillips’ tenor sax, the piano of Teddy Wilson, then modernists Dizzy Gillespie and Charlie Parker (separated only by bassist Slam Stewart). Ella Fitzgerald’s voice is heard from her 1970s period, and may we say the touch on piano from Oscar Peterson behind her makes everything all worthwhile. Alberta pianist Andrea Petrity provides a fresh sound from the often-times-tired piano trio format, and we conclude this opus with Cuban Julio Gutierrez demonstrating a Montuno rhythm within the Cha Cha Cha. Our music plus radio plus a time to share equals a sum total of what we’re supposed to be doing, Hacksaw Jazz.
Description of Show # 1958, 5-26-22
Taking up where we left off, all decades from the 1950s thru the 2020s are covered this week. Beginning in our own back yard, one of the best Young Sounds of Arizona editions assembled (and we’ve listened to most all thru the years), hear how they recorded around covid restrictions. Our precious and late Bob Dorough sings from among his “one album every ten years,” in 2020’s case “Too Much Coffee” (which is impossible). Veteran drummer Jimmy Cobb hosts hot players of varied ages, and Woody Herman’s unmistakable sound pays tribute to Horace Silver. For Blues Radio Hacksaw, stay tuned for the Blue Chevys’ new release and a BB King classic. We found a couple different tracks with the same title, “Pinocchio.” We demonstrate how separate the songs really are, first with blues man William Clarke, the other composition (using the same name) played by violinist Zbigniew Seifert (unfortunately each musician from among his last recordings). To change things up we throw in one of today’s hottest guitarists, Dave Stryker. Then we hear “Truth Honor & Happiness, and one thing more…” Sung first by Lambert Hendricks and Ross, then the real answer from Leon Thomas. Moving along as we always do, it’s almost impossible to remake recordings of a standout original. But the Mingus Dynasty here is qualified as this version is populated by former Charles Mingus musicians. One singer we like a lot is Vanessa Rubin, here singing a Duke Ellington beauty. Another new release follows, from trombonist Ryan Keberle, and then we heat it up once more from the salsa section as Machito performs “Hacksaw Caliente.” Bassist John Lee is a new name on us, here supported by saxophonist Cory Weeds. Two saxophonists who no one else can ever sound like are named Coleman Hawkins and Ben Webster, and we’ve got ‘em together. One more lady singer in Patty Peterson and one more Latin giant in Tito Puente, and what we have is the full moon as a backdrop, thru half moon Hacksaw, and all the way thru to the epochal eclipse. Hacksaw Jazz and Blues.
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.
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.