Description of Show # 2039, 09-14-23
We sound our horn a lot, but don’t worry, it only works INSIDE the jazz vehicle. Bob Dorough was one of a kind, writing, singing and playing piano for openers. Vocalist (and WBGO jazz radio Newark radio hostess) Lezzlie Harrison keeps it safe and simple on her debut release. Brad Turner continues playing trumpet at a high level on his latest, and tenor saxophonist Andrew Rathbun is young, adventurous, and surrounded by like-minded players. It took us back to the early days of late tenor saxophonist Michael Brecker when he appeared as sideman with leader Drummer Mel Lewis. Ms. Darden Purcell is our pick to click, standing out among the latest of lady singers. Alto Saxophonist Benjamin Boone gives the spotlight to trumpeter Ambrose Akinmusire who recites poetry in infectious cadence communicating rather profoundly. Pianist Ben Winkleman is abstract, but consistent in time and temperature. We call on Keith Jarrett (current involuntary retirement from loss of motor function in a hand), collective improvisation 1966 style. Hour two starts with a top-notch Kenny Barron group, the leader at piano, performing post-bop from the early 1990s. We maintain the tempo with, of all things, a vintage swing era hit from the Benny Goodman orchestra. Thelonious Monk recorded his “Ruby My Dear” a few times, most notably coming down to a couple saxophone fan’s tough choices, we went for Coleman Hawkins joining Monk this time. Chucho Valdez is happening on solo piano, and Gerald Wilson’s orchestra sounds great from his early ‘60s opus. We have called back singer Olivia Maisel from the last round of new releases to advance, then it’s guitar time: Tal Farlow is followed by Kenny Burrell. For blues enjoy Lou Pride at the mike, and Ronnie Earl on guitar. Tonight, the Hacksaw let me down.
Description of Show # 2037, 09-07-23
​We hit the ground running with recent music by sax man Corey Weeds, who also produces a lot of great recorded jazz by various musicians today. From there to a veteran from history, Mr. Ben Webster and his recognizable sax tone. Albert Collins is the “Ice Man” from his early days playing “Frosty,” then back to new-release music from the Nick MacLean Quartet featuring trumpet man Brownman Ali. It’s a logical step to the music of Vince Guaraldi, the piano of Charlie Brown’s TV “Oh Good Grief” fame, also to the varied moods of singer Betty Carter, the fusion/soul group Crusaders, and what we feel an excellent pairing of singers in Joe Williams and Marlena Shaw for gobs of soul. There’s a difference between forward-thinking and a new mentality which we discuss comparing new releases from the group Bellbird and the young Cuban piano great Harold Lopez-Nussa. A break for Roomful of Blues and we’re done with hour # 1. In our second act, the finest of Afro Cuban is appropriate with Mamborama, followed by a lighter version of the same idea with vibraphonist Cal Tjader. Drummer Mike Clark chimes in with his rhythm from a new release, another drummer Shelly Manne and his Men come to us from a famous vintage live recording in San Francisco. We picked singer Jeanie Bryson not only for her smoky style, but also for the clarinet of her accompanist Paquito D’Rivera. For our final lap enjoy the Detroit Memphis Experience with singer Kathy Kosins, a true classic written and performed by saxophonist Sonny Rollins, Dizzy Gillespie’s tilted trumpet, and a fine and mellow finish from singer Tony Bennett with pianist Bill Evans. In three-quarter moon time, for any time, Hacksaw Jazz.

Arizona Music Notes, fall 2023: 
​Electrical transcriptions are how sound was recorded after Edison, but before tape.  Usually an aluminum base coated with acetate that grooves are cut into.  They look similar to records pressed on shellac or vinyl, but not mass produced.  Three types & reasons for audio transcriptions, sometimes called acetates: 1) Radio of the 1930s to about 1960, 2) recording studio reference pre-master or pre-release references, and 3) home-made disc recordings of the same period ‘30s to ‘60s.  We hear all three on recent episodes of "Radio 586 AZ Roots."  Back story on how our donor found this show’s Nadine Jansen and F Sharp recordings: “They came from a number of record boxes sold at auction in Amarillo, many with the name Mae Saltmarsh written on them.  Lots and lots of incredible 50’s-60’s jazz plus these acetates.  The only info I have found on Mae Saltmarsh ties to a young women who traveled the Chautauqua circuit in the 1920s with her sister and was known for being able to simultaneously play piano and trombone!  Did Mae and Nadine ever meet?” Turns out Ms. Mae was also married to a man named "Sharp," was he F Sharp?  It is true F Sharp and Nadine Jansen DID play together regularly in 1960s Phoenix. We are grateful these one-of-a-kind master recordings made their way back home to Arizona where they belong, and are now in permanent safe storage and digitized for all to enjoy. Hear first volume here.  Hear second volume here.

Description of Show # 2035, 08-31-23
​Whatever we have to do spiritually to get past the sun going down, starting with a group of new releases which got past the first round and now advance to the finals. Drummer Joel Haynes leads a quartet with Seamus Blake on sax, Maci Miller has a good voice, turns out a great performance and recording…her heavy writing catching us off-guard, foreboding on social issues. Vibraphonist Ted Piltzecker is fresh and original, trumpeter Jon Menges makes us feel one minute in a recording from the ‘60s, the next back to the present. A break for palate-cleansing vintage Latin jazz with Miguelito Valdez, then Alfredo Rodriguez with a hit not a miss from his newie. Sun Ra & his Arkestra reinforce that space is the place, then singer Carmen Bradford is timely and dramatic. You can’t lose when you play Charlie Parker blues. Our second hour begins with big band on-fire, augmented by funky churchy Les McCann piano. Late greats Freddie Hubbard and Woody Shaw pay tribute to one of the greatest in Clifford Brown. Count Basie and Joe Williams have a “Comeback,” then more new releases. The “Technocats” have a misleading group name, as members include current forward-thinkers Xavier Davis on piano. with Michael J. Reed on drums. Pianist Miki Yamanaka has hit it out of the park again with a new quartet recording, of which she is currently on-tour following. We discover a compilation of artists who performed at the San Francisco Jazz Festival 2004, and feel it fitting to follow pianist Jessica Williams with legendary drummer Eddie Marshall, now that both musicians have transitioned. This last recording starts three Eddie’s in a row: Trumpeter Eddie Henderson goes next with his newest release, continuing to improve with age, and legendary saxophonist Dexter Gordon hosts guest vocalist Eddie Jefferson for some “Diggin’ In.” From Hacksaw hell to fresh realism, it’s simply an element of eternity, jazz and blues in quarter-moon quaintness.

Description of Show # 2033, 08-24-23
​Tell the truth, shame the devil: New jazz releases, and artists today, still deliver. We feature a batch from the Origin label, as well as their OA2 subsidiary and other independent labels. Vibraphonist Ted Piltzecker is strong enough that we need Carmen McRae, one of the best lady jazz vocalists in history, to break it up, to interpret masterpiece lyrics that don’t exist today. Then it’s back to business with John LaBarbara’s Big Band, swinging as any groove can be, with crack soloists on top. Bobby Rosario sounds more “world” or global than fusion or smooth, his sharp guitar leads over B3 organ. Tenor saxophonist Matt Otto jams over an electric piano space groove. We hear the tones of two late great alto saxophonists, Cannonball Adderley (with Milt Jackson vibraharp and Art Blakey drums) followed by Art Pepper. Then a new Latin jazz release to conclude hour number one, from bassist Rubim de Toledo. In our second hour, new releases continue with saxophonist Big Chief Donald Harrison Jr. first, performing a portion of his Congo Square Suite. Pianist Marc Copeland goes next, with a supposed Miles Davis line. We pay continuing tributes to singers, recently departed Tony Bennett, followed by another quality of Joe Williams. Piano great McCoy Tyner is also an important composer, who’s selected work this episode is arranged for Big Band. The balance of our allotted time is filled with vintage recordings, a couple from 1960: The MJQ (Modern Jazz Quartet), and tenor sax great Gene Ammons. In between is a 2003 recording of awesome current singer Lizz Wright, currently on-tour at an event near you. Quarter-moon quaintness, with Hacksaw Jazz.

Description of Summer's Best Show, 08-17-23
​This episode is chock full of vintage vinyl, some of it shifted shellac. Take for instance a small Count Basie group recorded by John Hammond pre World War Two which featured Jimmy Rushing and Lester Young, into the bebop era which couldn’t have happened until the later 1940s thru rebels like trumpeter Fats Navarro. After these considerations our music is drenched in Brazilian bossa to form the best of our “Summer Samba,” like Charlie Byrd’s unamplified guitar. We consume Hank Jones piano music for he effect, and Ray Barretto, usually playing Puerto Rican or Cuban conga, goes back to his jazz session roots for the best groove achievable. Pianist Jessica Williams from the Pacific Northwest is hypnotic and technical but flowing. Back to the “Base,” Count Basie goes forward several decades to the 1970s for his all-star jam of name soloists. Billie Holiday steps in the spotlight from her mid-1950s career opus, then an important part of genuine jazz’s direction and survival in the 1980s: Drummer/composer/leader Tony Williams may have been one of the very best, thanks to his start with Miles in the 1960s. Our first hour concludes with more samba and Trio 3D. Hour two starts by combining Panama, Monk and pianist Danilo Perez. Johnny Hartman’s smooth and relaxed baritone voice begets the bossa, another male vocalist (and television/film actor) Bill Henderson offers his 1960s Chicago style. Pianist Joey Calderazzo emerged in the 1990s and his music stands up, then a true classic which had the opposite effect of being banned late 1960s: Radio listeners were outraged…when jazz stations DIDN’T play Les McCann and Eddie Harris “Compared to What,” never more-needed than right now. Back to our 78 RPM era, R & B vocalist Dinah Washington could sing explicitly at times, and bassist Ray Brown always surrounded himself with the upmost of talent; But none probably heavier than the section work of sidemen Cedar Walton piano and Elvin Jones drums. We couldn’t help but feature a bit of late Afro-Beat drummer Tony Allen, then another co-operative trio with the bassists name first: John Patitucci, then the bass of Vinnie Colaiuta, completed by pianist Bill Cunliffe. For our final Brazilian offering we call on pianist Antonio Adolfo with Carol Saboya to sing a heavy Baden Powell classic. To conclude with Chet Baker singing and playing trumpet from the film on his life, so appropriate in black and white, “Daydream” from “Let’s Get Lost.” Who we are what we stand for, Hacksaw Jazz.

Description of Show # 2032, 08-10-23
Newcomer Lorca Hart is leader/drummer from New Mexico with guest saxophonist Dayna Stephens to begin, followed by who might be called B3 organ innovator Chris Hazelton and his newie. Piano greats from our classic years include Count Basie and Oscar Peterson together, with a Basie hit called “9:20 Special,” which we think is in the afternoon. HR stands for HoRo or Howard Roberts, a jazz guitarist born in Phoenix, successfully recording on hundreds of studio recordings too, HR’s guitar-playing kids got together in 2014 with LA’s finest to do a tribute album. Mark Murphy is a singer’s singer who we turn to whenever in need of real vocal soul. Mallet master Milt Jackson is heard in a contemporary recording of electric instruments, for our Latin salsa we choose Gunther Rink with Roberto Herrador. We get our blues from Dave Riley, followed by Sean Carney, Kenny Neal and Christine Kingfish Ingram. Hour # 2 begins with a couple alto saxes from the west coast in a row, Art Pepper and Sonny Criss. From the early trio days we catch McCoy Tyner doing a Dizzy Gillespie tune, Stan Kenton is “Cool” with the combination of big band, Leonard Bernstein and West Side Story. We’re getting thru a series of recently-discovered John Coltrane recordings piece meal, and funky/churchy pianist Les McCann becomes the topic for a protracted period, first with a Village Gate live recording, followed by a new tribute piano recording by youngster Joe Alterman. Vocalist Stacy Kent is delicate and sensitive, tenor saxophonist Scott Hamilton is heard from his earliest days, with Warren Vache on cornet, providing our closing thought: We’re done with our day, and “Through for the Night.” Hacksaw Jazz.
​
Description of Show # 2029, 08-03-23
​Pianist Oscar Peterson hosts a real jam, in his prime with top-notch players of the day, in front of a hard-core Swiss jazz festival. We get a chance to experience the importance of Brazilian acoustic guitarist and composer Baden Powell, the way bossa was originally played back in the day. From our stack of new releases, Ray Vega and Thomas Marriott make trumpet playing sound effortless and easy. Singer Sherry Petta is light and easy in the summertime, and baritone vocalist Johnny Hartman is uncharacteristically up-tempo with delightful Irving Berlin. A force like an electric current flows thru us when the Cookers perform, all-stars from the post-bop genre. Saxophonist Ben Webster and trumpeter Harry Sweets Edison wanted to do one together, and no one can disagree that Dianne Reeves was the right singer to be on the soundtrack of “Good Night and Good Luck.” In hour # two, Zoot Sims might just be the swinging-est saxophone ever, and Miles just as likely the coolest leader from a storied San Francisco dive. Harold Mabern was a remarkable Memphis jazz pianist, active into his ‘80s while mentoring other young musicians, and this time paying tribute to John Coltrane. Chad Lefkowitz-Brown is a tenor saxophonist who continues the John Coltrane showcase, bringing young guitarist Lionel Loueke to the occasion as well. A most unlikely pairing in recorded jazz has to be the compatibility of sax great Paul Desmond and late Hungarian guitarist Gabor Szabo. Singer Catherine Russell and pianist Mulgrew Miller are at similar comfortable tempos back-to-back, and it’s always midnight somewhere in the world so we call on Stan Getz over a bed of strings. It won’t burn us this time so here’s how, Hacksaw Jazz.

Description of Show # 2027, 07-27-23
​When you’re smiling, Hacksaw smiles with you. From a Latin standpoint, trombonist Doug Beavers and guest vocalist paint for us. Legendary Illinois Jacquet plays tenor sax ballad sometimes reminding us of Eddie Lockjaw Davis, other times like Ben Webster. Speaking of saxes, pianist Bill Evans ends up in the 1970s with soloists Lee Konitz and Warne Marsh from another pianists 1940s group. We go to the Montreaux Jazz Festival for a hand-holding story by Marlena Shaw, who’s vocal style we sometimes also hear in vocalist Carmen Bradford, who also croons. Radio is for storytelling, so we talk about saxophonist Red Holloway who we once tried to negotiate so we could also get R&B saxophonist Joe Houston up on stage. Ella Fitzgerald swung like mad at all stages of her career, and we continue our tribute to the late Astrud Gilberto for the opposite side of jazz vocal. We conclude the first hour the same as we began, with new release Latin jazz, only this time at medium tempo with Reginald Policard and Richard Bona. Our blues start before sunrise, and last he whole day thru. Therefore it’s okay to express also when we’re “Feelin’ Good,” as John Coltrane does this day. Monty Alexander now has over 75 piano albums released, and we like the passion of his early 1970s trio. Percussionist Ray Barretto played conga, timbale and bongo, and he stretches out to demonstrate all. Cannonball Adderley recorded prolifically, many times live when he could rap with the crowd and his group could stretch out. We finally got the title of his “74 Miles Away,” it’s in 7/4 time signature. Trumpeter and some time vocalist Chet Baker had a horrid life, and not all his many albums are equally even. But one that critics and fans agree on favorably was recorded in 1959 and we dip in. Jalen Baker (no relation) is a rising vibraphone star, and we just received his sixth album as leader. I’m a stranger here, Hacksaw down the line. 

Description of Show # 2026, 07-20-23
​Plenty of shade bathing preferring our heat thru music instead of the index. High-note trumpet man Maynard Ferguson still grabs us, and from a previously unreleased recording done in the ‘70s comes Irish guitarist Louis Stewart with rare piano by Noel Kelehan. Another rarity from the ‘70s is trumpeter Chet Baker with Larry Coryell guitar, and the Williams’s Buster and Tony in the rhythm, all thanks to unknown vibraphonist Wolfgang Lakerschmid. We don’t need an Art Blakey Jazz Messenger scorcher this time, but rather trombonist Curtis Fuller featured in the Wee Small Hours of the Morning. In our continuing John Coltrane portion of the program we pick another untitled track from “Lost Album Both Directions.” Then the real Gary Burton on vibes, expressive and original for ECM Records (to counter his comatose GRP Records material). From there it’s easy to pick a version of Summertime, bring on guitar great Tal Farlow. Latin jazz man Pete Escovedo covers a Cal Tjader number and for challenging big band of today, we call on bassist Lennie Moore. For our second act, Nigerian-born, Los Angeles-based singer Douye is a good candidate for enchanting Duke Ellington music, while percussion legend Sammy Figueroa puts his spotlight on Cuban vocalist Aimee Uuvola for a few Abbey Lincoln-type profundities. Since we’re into vocalists, may as well spin one of the best, Mark Murphy, featured this time with reed man Herb Geller. Gypsy guitarist Django Reinhart is brilliant on another of his originals. Jimmy Smith is heavy on B3 organ, sending out Blues for J. We can’t get enough of pianist Bud Powell, and Carmen McRae has the perfect voice for beauty in Thelonious Monk music. To another lady of completely different distinction, queen of the blues, Koko Taylor. Hit maker Howlin’ Wolf is heavy into shuffle blues and the late Luther Allison plays excellent slide dobro guitar along with his heavy vocal blues. Hand-picked jazz on the radio for you since 1975, we were there and we are still here, Hacksaw Jazz.

Description of Show # 2023, 07-13-23
​We are doing plenty of shade bathing defending against the heat, it has to be from the music. Anthony E. Nelson (the Captain from 1960s black and white TV?) plays tenor sax with organ for our introductory new release. Gabrela Anders is 100 % female, no masculine side here, while the cooperative of Jackie and Roy review Bogie of the big screen. From a rare Ahmad Jamal piano recording, tempo change brings in conga while the leader dabbles on electric. The Canadian Jazz Collective comes in well-rehearsed with piano and guitar soloists. One great new young alto sax player born and raised in Brooklyn is Nick Green “Green on the Scene.” We haven’t played Ornette Coleman in a while, we selected from his opus 1995. Nylon guitarist Nate Najar pays deep respect to the late Charlie Byrd in style, we get a chance to study the samba and compare album graphics almost identical to the original release from Mr. Byrd over 60 years ago. Blues Radio Hacksaw features Atlanta’s Billy Wright followed by Chicago’s Muddy Waters (the fathers were Sumlin & Spann, the sons were Butterfield & Bloomfield). Hour # two opens with the simple statement “It Don’t Mean a Thing if it Ain’t Got that Swing,” and we know precisely what guitarist Kenny Burrell and his friends mean. Trumpeter Freddie Hubbard is heard from the 1970s, and covering a Stevie Wonder tune (just as Hubbard once did) is guitarist Dave Stryker from today. Clifford Brown is impeccable as usual on trumpet, and John Lewis, alone and away from the MJQ, does his near swinging interpretation of JS Bach. One definite ground-cutting pianist of the 1980s and ’90s was Michel Petrucciani featured this time in drum-machine precision, and we are grateful for a German radio broadcast of guitar legend Wes Montgomery, his level of playing always higher than studio recordings. From our obscure but legendary category comes clarinetist Stan Hasselgard who, had he lived, rivaled or surpassed Benny Goodman’s playing. Heard today from a Swedish recording done just before the clarinetist moved to the US. We have a plan for the blues which includes Albert King and Lonnie Johnson. Hand-picked jazz on the radio for you since 1975, we were there and are still here, Hacksaw Jazz.

Description of Show # 2022, 07-06-23
​Whether morning drive in the EST zone, or afternoons in Europe, we hope listeners are in good spirits today. You can never lose when it’s “Party Time” with trumpeter Lee Morgan, including our continuing tribute to saxophonist Wayne Shorter on this band. Shorty Rogers and Bud Shank bring together the early 1990s version of LA’s South Beach Lighthouse All Stars for another in the “Martian” cycle of compositions. Singer Olivia Maisel is our pick to click for the episode, WOW! She’s into an old standard 100 %. Trumpeter Benny Bennack III has another newie, in boogaloo tempo. Cutting new Cuban ground is Gonzalo Grau, Thomas Fonnesbeak and Justin Kaflin perform a piano-bass duo climbing up the current jazz charts. Donald Brown is another of the great Memphis musicians coming to fore in the 1980s, and composer/multi-instrumentalist Joel Goodman is out in orbit. For our second hour we focus on the almost-forgotten tenor saxophonist Don Byas, who was alongside Ben Webster and Coleman Hawkins in time and style, playing first hot, then in the next breath ballad, tempi. Heidi Martin doesn’t quite reach the heights of other current lady singers, but her latest release contains all-original compositions and she does create a definite dead-of-night vibe. Pianist/composer Thelonious Monk took a 10-piece group into Lincoln Center Philharmonic Hall in 1964, with like-minded soloists of stamina. Otis Rush plays the blues instrumentally, the whole intonation just a little off, to make it right. The metaphysical Rahsaan Roland Kirk hits us with his flute hypnosis, from one cosmic night at San Francisco’s Keystone Korner. Then to wrap our session, the Mingus Dynasty keeps the wild energy of Charles Mingus alive, featuring a handful of musicians who played with him, and never forgot what he wanted. As long as music is still relevant & valid, let’s be aware of what’s going on around us, Hacksaw Jazz.

Description of Show # 2020, 06-29-23
​We may not be going all out, but we’re letting more in. After a classic Miles recording called “Oleo,” we present the 100th anniversary of the Gennett record label and studios in Indiana, where the Buselli-Wallarab Orchestra has brought 1920s jazz into today, good job, good tempo. Joanie Pallato is part humor, rather Sheila Jordan-ish in vocal style and featuring guitar ace Fareed Haque. For a true soul-reboot, we experience 1963 John Coltrane as if for the first time…from “The Lost Album” this material was not released to the public until 2018. Our segments have Bird bookends, we take you to the Royal Roost with Charlie Parker playing a “new” melody over 1920’s chords of “Whispering,” that’s how they rebelled against their parents (whitey) in those days. Parker’s former employer Jay McShann plays barrelhouse piano adding Texas guitarist T-Bone Walker. Bob Florence was a legendary west-coast bandleader, but he also sat down alone at the piano for an album. Brazilian trombonist Raul DeSouza is featured on quite the happening samba and we continue our tribute to Astrud Gilberto: “My Heart was like a lovely June…” In hour # 2 hear Edward Simon in Portuguese, then composer-vocalist Fuat Tuaç in Turkish, since we are full-service. Pianist Wynton Kelly brings in guitarist Kenny Burrell, then plenty more piano with Oscar Peterson meeting young Benny Green. For authentic Afro Cuban, we tune in Mongo Santamaria’s sizzle before salsa, then drummer Tom Cohen is backed by the late Joey DeFrancesco topped by a saxophone scorcher. Mellowing out during the “blue hour” is Stanley Turrentine with another style of sax backed by Gene Harris and the Three Sounds. Then comes Bird “colorized” for film, Charlie Parker’s saxophone track was built upon by musicians of the 1980s for a version of “Ornithology” which we doubt the saxophonist ever really recorded with vibraphone. Paternal senior of a rich multi-generational Cuban piano family, Bebo Valdez, rides again with Paquito D’Rivera, Producer and clarinet. They sing it so we don’t have to say it, Hacksaw Jazz.

Description of Show # 2019, 06-22-23
Doing our best to document, sample and share jazz over the years, we catch up with our collection and revisit a couple lost decades in the process. One from the more classic Miles Davis discography starts the program, followed by Azar Lawrence’s soprano sax and the obvious element of John & Alice Coltrane in the air. Mose Allison is Cecil-Taylor-meets-Willie-Dixon in style, and Erroll Garner is forceful from an early 1970s recording. Newcomer pianist Will Bonness from Canada features notable talent, and the grooving continues with the Nightcrawlers. Vocalist Caity Gyorgy is outstanding and from our archives Johnny Hodges is splendid on his alto sax. Nylon guitarist Diego Figueiredo lends us his “Caixote” to crate our records around in. For the second hour, veteran guitarist Ed Cherry, once with Dizzy Gillespie, now pays tribute to Wes Montgomery. Pianist Marcus Roberts is all alone with giants, in this case melodic Duke Ellington. Singer Samara Joy is so bursting at the seams, she had to add additional material to her already-hot album to make “Deluxe Edition” until we are patient for a new album. Tenor saxophonist Mike Allen is with bass and drums only, reminding us of the muscular playing of a Sonny Rollins or a Joe Henderson. And Wardell Gray was one guy who came pretty close to Lester Young in style, and in a 1947 concert recording brought back pianist Erroll Garner for an encore. Pianist Oscar Peterson brings in guitarist Herb Ellis to send everyone, a combined and seasoned mentality practically impossible to find anywhere today. Drummer Mike Melito leads a Monk ballad with much reverence and beauty. We found vocalist Joe Williams right where we want him, then an obscure but GREASY blues track from Andre Williams. The mighty Afro Cuban All Stars take us out in Latin rhythm. A real person on the radio keeping you company at this hour, with feeling, emotion, and a chance to really experience music. What our predecessors meant when they said “It don’t mean a thing if it Ain’t Got that Swing.” Hacksaw Jazz.

Description of Show # 2018, 06-15-23
We have ingress & egress to our music with still a little mileage left. A classic from trumpeter Lee Morgan begins the festivities, then the word from Bird, and to re-use the blues, Supersax plays Charlie Parker. From a new release on the ECM label we listen to guitarist Jacob Young, and Tom Harrell is composer, arranger and flugelhornist for our next track. Tenor saxophonist Joe Henderson begins another half hour of radio with his big band, he is followed by Gerry Mulligan, Chet Baker and Lee Konitz on saxes with trumpet. Then it’s long-overdue Hammond B3 organ time first with Brother Jack McDuff, Ronnie Foster’s “Reboot” from last year, and innovator Larry Young performing a Woody Shaw tune. (Counting as side man, tenor saxophonist Joe Henderson ends this half hour). The first half of hour # 2 contains new releases submitted to us in CD form over last seven days. Pianist Orin Evans is strong, alto saxophonist Clark Gibson brings in more B3 organ. Luis Milan meets his “Brazilian Match” (album title) bringing in veterans Eddie Daniels on clarinet, and vibraphonist Mike Mainieri. Vicente Archer is one of the harder-working bassist in New York today. Canadian jazz legend Phil Nimmons would have been 100 this year, we hear a musical tribute from his grandson Sean. The impressive Mark Filsinger Chamber Big Band dishes out top-notch bebop, Latin jazz leader Poncho Sanchez brings in one of his influences Tito Puente and together they remember Cal Tjader. A jazz guitarist we really like from recently is George Cotsirilos. The MJQ, Modern Jazz Quartet, play on top of the large “All Star Jazz Band,” and Chicago pianist/composer Steve Million plays and writes words, as Sarah Marie Young sings. Time wasted is not wasted time, Hacksaw Jazz.

Description of Show # 2016, 06-08-23
​There is mileage left on our music here. In our continuing tribute to the late Wayne Shorter as tenor saxophonist and composer, we spin the leadoff to his Speak No Evil, then the queen of the jukeboxes Dinah Washington. Not to be outdone, Floyd Dixon probably out-does himself with a 1996 remake of Hey Bartender, followed by early Lowell Fulson Texas blues. Never apologizing for jazz’s greatest hits, we combine that category with B3 organ and get Jimmy Smith. King Pleasure seemingly always restores the classics, in this case vocalese-ing. For our John Coltrane portion we again mine from his most prolific year of recording, 1965. Alto saxophonist Paul Desmond will be known and enjoyed for years to come, but his guitarist for this session, Gabor Szabo, was great also. New (moon) releases come from saxophonist Anthony Hervey from his debut, and singer Robyn Spangler is sent out to every harmonious household. To begin our second hour, we have a serious game going with Connecticut guitarist Linc Chamberland, and saxophonist Dave Liebman for a very strong track. The late baritone saxophonist Ronnie Cuber plays one more time, then we join Chicago pianist Steve Million who wrote a series of words for his recent album, here a message for his daughter many miles away, “Missing Page.” Saxophonist Joe Lovano plays his tribute to John Coltrane, and saxophonist Dave McMurray releases another album of DeadHead jazz, “Grateful Dedication 2.” Canadian all-stars Reg Schwager playing guitar and Ryan Oliver on sax are driving on their newie, and here’s what liner notes say about our early be-bop-leaning pick: “1943 Columbia recording executives were apparently not impressed with the Cootie Williams Orchestra, and all sides from this session went unreleased for decades.” Drummer Mike Reed’s People Places and Things are innovative with space, and to cool down we call on pianist Falkner Evans from 2020. Concluding our proceedings is singer Nnenna Freelon performing Nina Simone. A rare medium well done, Hacksaw Jazz.

Description of Show # 2015, 06-01-23
The main thing is that vinyl be visible (video proof on Facebook Live, YouTube and Instagram Hacksaw Jazz). Musical offerings range from Latin in emphasis to safe in presentation. A new release by Rumba Calzada, with contemporary thump but with roots, reminds us that Harold Lopez-Nussa is perhaps the most traveled of the touring Cuban pianists today. Then salsa from Colorado, Conjunto Color’s, keeping us within the 21st Century. That spell is broken by a simple, but snappy statement from drummer Sebastian Parent. Those kids of 1957 heard beat boetry/intellectual comedy/word jazz delivered by its creator Ken Nordine. Then the real vinyl, probably shellac: Guitarist Johnny Smith with partner Stan Getz, together the fastest animal in the land. An historical entry comes from Brazilian singer and songwriter Delores Duran, singing and scatting American as ever, from a previously private tape. Howard Roberts came from Phoenix Arizona, and was one of the most successful musicians in LA studios, with a side career in jazz guitar. We spin a previously unreleased recording of organist Shirley Scott, and conclude our first hour with a new release of popular standards from singer Laila Biali, here mellowing out in Brazilian bossa with harmonica soloist. Hour two is devoted to all-new releases for the first 30 min. Seth Kibel is “Clown with a Stick,” in this case flute, warbling his message “Thru the Grapevine.” Drummer Joe Farnsworth fills his latest collection with original compositions mostly from he and accompanists, like guitarist Kurt Rosenwinkel and saxophonist Emmanuel Wilkens for simultaneous improvisation. Dhaivat Jani Plus is East Indian jazz with female voice, our meditative point of the show segueing beautifully into piano/bass music (written by Chick Corea) performed by Danish Thomas Fonnesbeak and Justin Kaflin. For our last lap, saxophonist Illinois Jacquet’s “got it” with dynamic big band and powerful soloists from the 1980s. One of alto saxophonist Johnny Hodges’ last sessions has arrangements by Oliver Nelson and blues vocal by Leon Thomas, Lord have mercy. Etta James belts out a Willie Dixon number, Junior Wells sings without blowing blues harmonica, and Big Mama Thornton is heavy, specific in what they call her. We are back to Latin to conclude proceedings, a pair from circa 1950 Afro Cuban jazz, Machito’s orchestra, followed by mellower and rarer Nora Morales. Working on our PHD: Peace, Happiness, Direction. Hacksaw Jazz.

​
Description of Show # 2013, 05-25-23
​Beyond the hackamore, we have purpose & direction with media & application. Marlena Shaw sings with gobs of soul from the Montreaux festival (she’s still around, still singing at 80), Oscar Peterson is captured from his prime with bassist Ray Brown and drummer Ed Thigpen. In a tribute to arranger Don Sebesky, we hear his ambitious 1970s fusion-style version of Stravinsky’s Firebird, featuring flutist Hubert Laws, trumpeter Freddie Hubbard, drummer Billy Cobham and bassist Ron Carter. Buddy Rich is his energetic self leading a small group from the 1970s and young new saxophonist Nick Green plays as if transported back to Manhattan’s 52nd Street in the 1940’s, channeling Lee Konitz with counterpoint before playing the melody straight. We return to the Montreaux festival with blues from New Orleans Champion Jack Dupree’s piano and vocal, and Texas King Curtis on sax. Holding Texas over, our first hour concludes with harmonica man and writer Jerry Boogie McCain. Stuck in ‘70s for a few selections, we continue with Roy Ayers on vibes providing plenty of Sunshine now, a 1950’s 45 RPM by Guitarist Rene Hall (featuring the Unitar), then a track from saxophonist Cannonball Adderley’s last album. A new release by pianist Jeb Patton proves that classical elements go well in jazz composition (even if it doesn’t work too well going the other way). Above-average new guitarist Dan Wilson performs an original from his latest collection, then we hear two “back” blues in a row, first by Art Blakey’s Quartet and McCoy Tyner’s piano, followed by Wes Montgomery’s guitar backed by his brothers. Sparkling vocalist Roberta Gambarini concludes with a pop/jazz classic. Master of shortcuts, Hacksaw Jazz.

Description of Show # 2012, 05-18-23
​Way in, very much so. Positive energy surrounds our beginnings with new releases, first up with A & M Octet (that’s bari for baritone sax and bone for trombone) then Ernesto Cervini for elegant drumming and poetry. It’s always good to have access to the “Best and Only” Coleman Hawkins sax. Guitarist Dave Stryker delivers another home run with organ trio, and from the vinyl archives vibraphonist Gary Burton sports two bassists and a young Pat Metheny. We hear from one of the most genuine today, vocalist Lizz Wright. And Yusef Lateef is ahead of his time from the 1950s heading near- and far-east. Concluding hour # 1, but that’s only half moon happenstance. Saxophonist George Coleman is still playing new releases with fire, and in our John Coltrane portion we compare major and minor melodies of “Cousin Mary.” Brazilian composer and performer Ivan Lins appears with his Quarteto em Cy & MPB-4, the Dave Brubeck Quartet and Paul Desmond are “Gone with the Wind.” Kenny Burrell is at his guitar-tastiest, saxophonist Stanley Turrentine right alongside. For our final two selections, we feature exuberant youth in the solos of saxophonist Paquito D’Rivera and trumpeter Arturo Sandoval, first in 1977 and reunited in 1991. Night is over, turn up the quiet, Hacksaw Jazz.

Description of Show # 2011, 05-11-23
​Return to sender? Hacksaw unknown: From a large orchestra composition, Dizzy Gillespie’s horn is heard with two drum sets and conga player. Then there are a few degrees separation each way in our music, Diane Reeves sings a samba, Bobby Timmons plays funky piano and Kathy Kosins’ vocal mellows in the spring. Eddie Palmieri plays hot piano and Lucia Richer sings a Jobim bossa. On the blues side, Mose’s mind is lost, Bruce Katz is bluesy in good taste from the acoustic piano. Roy Milton Hops Skips and Jumps off an old record. For closers on hour # 1, Freddie Hubbard found himself Super Blue in 1978, welcoming George Benson as guitar guest, and bassist Duncan Hopkins segues perfectly out of that mood continuing with music written by the late Kenny Wheeler. For our second hour Clare Fischer is another shade of his chameleon inventing keyboard sounds within Latin Jazz Sextet and vocal section “2 + 2 Plus.” Leader/trombonist Conrad Herwig continues our tribute to the late Wayne Shorter as composer, meaning more Latin rhythms and Eddie Palmieri returning as piano guest. That inspires more trombone, this time from Sweden, with the Nils Landgren Funk Unit. The New York Afro Bop Alliance extends the party. Miles Davis allegedly composed the tune “Nardis,” yet we hear almost the same melody inside John Coltrane’s Love Supreme, with the track “Resolution.” Two crisp big bands go at it back-to-back, Maynard Ferguson followed by Buddy Rich. Finally we “Close Your Eyes” to visualize piano master Oscar Peterson. Soul & satisfaction, Hacksaw Jazz.

Description of Show # 2010, 05-04-23
​Return to sender? Hacksaw unknown: From a large orchestra composition, Dizzy Gillespie’s horn is heard with two drum sets and conga player. Then there are a few degrees separation each way in our music, Diane Reeves sings a samba, Bobby Timmons plays funky piano and Kathy Kosins’ vocal mellows in the spring. Eddie Palmieri plays hot piano and Lucia Richer sings a Jobim bossa. On the blues side, Mose’s mind is lost, Bruce Katz is bluesy in good taste from the acoustic piano. Roy Milton Hops Skips and Jumps off an old record. For closers on hour # 1, Freddie Hubbard found himself Super Blue in 1978, welcoming George Benson as guitar guest, and bassist Duncan Hopkins segues perfectly out of that mood continuing with music written by the late Kenny Wheeler. For our second hour Clare Fischer is another shade of his chameleon inventing keyboard sounds within Latin Jazz Sextet and vocal section “2 + 2 Plus.” Leader/trombonist Conrad Herwig continues our tribute to the late Wayne Shorter as composer, meaning more Latin rhythms and Eddie Palmieri returning as piano guest. That inspires more trombone, this time from Sweden, with the Nils Landgren Funk Unit. The New York Afro Bop Alliance extends the party. Miles Davis allegedly composed the tune “Nardis,” yet we hear almost the same melody inside John Coltrane’s Love Supreme, with the track “Resolution.” Two crisp big bands go at it back-to-back, Maynard Ferguson followed by Buddy Rich. Finally we “Close Your Eyes” to visualize piano master Oscar Peterson. Soul & satisfaction, Hacksaw Jazz.

Description of Show # 2009, 04-27-23
​They’ve got an awful lot of coffee up in Erroll Garner’s piano room. And speaking of melody first, a most successful ivory tickler in that arena left our band in April 2023, so we spin Ahmad Jamal’s best-known recording. The whole world’s got the blues with Eric Bibb from the Netherlands, and Don Houge gives us happening sax music. Arturo Sandoval remains one of the finest trumpeters active today, we follow him with the centennial celebration of Latin great Tito Puente. Jazz lady Karrin Allyson sings a Jobim classic in bi-lingual, saxophonist Branford Marsalis welcomes New Orleans neighbor trumpeter Terence Blanchard for soundtrack jazz from a 1990 Spike Lee film. To conclude this portion, Wayne Alpern is feeling Saxology while harmonizing a Clifford Brown classic, including a quote from the Cream. Hour # 2 begins with Mike Melito and Dino LoSito drums and piano respectively, Bill Evans is alone at the piano with a most meditative Peace Piece. The mood stays mellow with multi-reed specialist Ms. Melissa Pipe, followed by another lady bringing an unusual stringed instrument front and center in jazz, Brandi Younger playing harp. Back to Brazil we go with Phil Fest’s guitar. One of saxophonist Cannonball Adderley’s most swinging recordings was his very first, and Nick Finzer is proof that young enterprising artists are still finding new things to say on the trombone. Finally John Pizzarelli’s vocals are fun and bouncy, his guitar dancing and swinging, from a new release. On the level of social video, hey, we didn’t put our face on at the midnight hour for nothin.’  Hacksaw Jazz.

Description of Show # 2008, 04-20-23
​We will NOT run out of radio coffee this show…Don’t spill any now, liquid gold ya know. Veteran alto saxophonist Bobby Watson opens music up, from new album “Back Home in Kansas City.” Label mate pianist Eric Reed from Smoke sessions follows, playing in a rhythm somewhere between mambo and bossa. Mossa or Bambo? Flutist Herbie Mann plays again from the Village Gate, and Arturo O;Farrill and Bud Powell are a good match of wits between interpreter and composer across generational lines. Reed man Don Aliquot plays bass clarinet from his new release, hot guitarist Julian Lage follows most compatibly. In our continuing tribute to Chick Corea, we “Return to Forever” in the early days with Flora Purim singing and Joe Farrell’s tenor sax. Another sizable “hit” from the same era is the Paul Winter Consort playing “Icarus.” In 1980 everything changed: Politics, radio, music. Cedar Walton’s “Warm to the Touch” with vocalist Leon Thomas only advised DON’T LOSE THIS PRECIOUS FREEDOM. Hour # two is “After the Dance” according to guitarist Dave Stryker, the Spike Wilner Trio play Monk from a new recording. Canada’s Jocelyn Gould on guitar is flashy, Brooklyn’s Aaron Seeber leading from the drums is mellow, melodic and in good taste. Billy Strayhorn is on piano for his own “Johnny Come Lately,” Duke Ellington in background as second pianist. Mallet man Cal Tjader plays the Tito Puente theme “Ran Kan Kan,” followed by a Ray Barretto hit. Muddy Waters is mighty especially backed by the piano of Otis Spain. Plas Johnson is heard on honking and screaming sax, from an old Ike Lloyd R & B record. We catch the underrated Dakota Staton singing live from Chicago, and she is balanced by one of today’s better singers, Jane Irvine interpreting a Dizzy Gillespie classic, including the words “serenity” and “wisdom” in her lyrics. As a meditation session, time plus vibration might equal life itself, Hacksaw Jazz.

Description of Show # 2007, 04-13-23
​Straight from the trajectory, our KRDP Phoenix radio studio. Recordings come in, get collected, sent back out live on the air. Combinations of multiple leaders together on single tracks define the first portion of our presentation, Tito Puente welcomes composter/pianist George Shearing, saxophonist Richie Cole calls on vocalist Janis Segal, and in our continuing tribute to the late saxophonist/composer Wayne Shorter, special mention must be made of pianist Robert Glasper, trumpeter Ambrose Akinmusire, and of course Shorter contemporary Herbie Hancock. Richard Groove Holmes presents a live version of a hit called “Misty,” then saxophonist David Fathead Newman plays Duke Ellington. McCoy Tyner continues the intensity John Coltrane built, and Billy Drummond’s small group is minimal and melodic with respect to the standard. Brian Charette is an admirable carrier of the B3 flame, and from vinyl comes guitarist Wes Montgomery from the Groove Yard. Hour two begins with a Gerry Mulligan oldie, resurrected in 1957 from a decade earlier. It is our distinct pleasure to present two lady trombonists back-to-back, Audrey Ochoa and Hailey Brinnel. Bobby Watson is a fairly well-known alto sax player today as leader, but in his earlier sideman days his own albums were less prevalent (here in the 1980s with Curtis Lundy and Mulgrew Miller). Straight from Rio, untranslated and raw, comes Garrafieira. From the mid-1970s, when jazz had its factions (which continue today under different terms and conditions) we focus on straight-ahead “Eastern Rebellion” led by pianist Cedar Walton with George Coleman, Sam Jones and Billy Higgins in tow. Composer Marc Jordan has released a mellow single, soon on an album, a piano/vocal picture of when “Coltrane Played the Blues.” We conclude with a down-home session, saxophonist Juli Wood with Melvin Rhyne on organ for “Movin’ and Groovin.’” Friend, worker, family, society. “They will lift you up, man.”  We might grow in this order, Hacksaw Jazz.

Description of Show # 2006, 04-06-23
In a healthy stealthy frame of mind we present 21st Century charanga music from Senegal, Babacar y Sabor Internacional including traditional violins and flutes. Dizzy Gillespie’s trumpet is augmented by Stan Getz’s tenor sax for a Duke Ellington classic, and drummer Willie Jones III carries on in the tradition with top-quality horn soloists from today. We need a trombone in our lives every day, so listen to Brendan Lanighan in the springtime. From John Coltrane’s late ‘50s period we hear a preview of the original ballad form that would permeate his coming quartet years. In the blues we present newcomer Ally Venable playing over-the-top guitar and singing a good vocal. On-point singer Caity Gyorgy is somewhere between Veronica Swift and Samara Joy, which is a bold but true statement. Drummer Art Blakey includes late saxophonist Wayne Shorter in a hard-bop track from a well-known album. Guitarist Kenny Burrell appears twice on our show this week, ending the first hour from the ’80s with two younger guitarists also in the band. Savoring rather than squandering our time together, act two opens with new drummer Mike Melito in top swing form playing an obscure Tommy Turrentine tune. Then it’s Jazz Orchestra time as Len Pierro conducts a standard chart with tenor sax soloists. Hot new pianist Isaiah J. Thompson negotiates his quartet, with a couple players pushing thru an adventurous live track and the other more natural musicians simply fall in. Peter Bernstein backs up his stellar reputation as a top jazz guitarist of this day turning in an excellent standard ballad. From Australia comes vocalist Jane Irving doing a good job with love overall. A nice find for our closer is nearly forgotten baritone saxophonist Cecil Payne, from a session recorded in simulated stereo originally under guitarist Kenny Burrell’s name. Fantasizing about reality, Hacksaw Jazz.

Description of Show # 2005, 03-30-23
​We’re here for the next still-suffering music fan. Tommy Flanagan’s piano is backed by Ron Carter’s bass & Tony Williams’ drums, then we spin three new releases from Jane Bunnett and Maqueque, an all-female Latin group, Halley Brinnel trombone and vocal, and the group Night Crawlers assembled by saxophonist Cory Weeds. Joe Williams sings “Every Night” (instead of his hit “Every Day”), trombonist Steve Turre mentors trumpeter Wallace Roney Jr., the same instrument his late father played. The Canadian Jazz Collective includes guitarist Lorne Lofky, contributing guitar & composition. Billie Holiday recorded her “Lady Sings the Blues” three times: in ’41 for Columbia, ’50 on the Decca label, and today we hear the 1956 Verve version. It’s Hacksaw Caliente to begin another hour of radio, with Mario Bauza and Manny Oquendo respectively. Jessie Davis blows lyrical alto sax, while Spike Wilner accompanies on beat-up piano. Monty Alexander is still active after releasing over 75 piano albums, and continued decades of touring. Then we play the blues for you: Rod Piazza’s Mighty Flyers followed by John Primer’s new tribute to Magic Slim. To demonstrate how bossa came before Beatles, Antonio Carlos Jobim’s piano backed up Astrud Gilberto on the first bossa nova hit in March ’63 (oh yes Stan Getz was also on that date), months before a Washington DC DJ first played the Beatles on radio in America. About 15 years after that, jazz man Bob Dorough sang a version of “Norwegian Wood.” Our final track is another new release by saxophonist Don Aliquo. We are perishable, therefore responsible, Hacksaw Jazz.

Description of Show # 2004, 03-23-23
​We pull all the stops out and let jazz’s greatest go at it. Joe Williams is “Smack Dab in the Middle” of Count Basie and Newport, with “gallons of coffee to wash it down, bicarbonated soda by the pound.” The Count follows with his biggest hit, from one of the best albums ever, and soloists Lester Young and Illinois Jacquet on saxes, Roy Eldridge and Thad Jones on trumpets, NOT BAD. To effectively transition to the next movement, we spin John Coltrane’s greatest hit, “My Favorite Things,” featuring the soprano sax. From Chicago comes the late Lester Bowie with trumpet attitude more like Loius than Diz. A group of all-stars called “One for All” sports members Steve Davis trombone, Jim Rotundi trumpet, and Eric Alexander tenor sax. Next, Ira Sullivan playing soprano sax is in a trio setting with just guitar and piano to weave playfully in and out of a most delightful Fats Waller melody. And if you should be so kind, to help us find our mind, Percy Mayfield wants to thank you in advance. We start hour # 2 off with a tribute to late vocalist Carole Sloane, who has fun with trumpeter and vocalist Clark Terry in a great fit. A Sonny Stitt saxophone ballad always puts us right where we need to be. Mary Stallings sings “Lover Man” in bossa time from a 2019 session, and Ernestine Anderson tears it up as vocalist interpreting T-Bone Walker. Continuing with lady artists, instrumentally it’s pianist Joanne Brackeen from an innovative period in her early career. Then we play a couple new releases from the Cellar label, drummer Al Foster who is also composer in this case, and Canadian bassist Neil Swainson and his happening group. Finally a favorite vinyl, pianist Oscar Peterson and vibraphonist Milt Jackson together create a melodic memory of Benny Carter music. Right about the time we get this thing wound up, it’s time to let it go, Hacksaw Jazz.

Description of Show # 2003, 03-16-23
​While under the influence of tradition from the artists we play, we feel we’ve found our calling and have reached home. This is our tribute to Wayne Shorter who passed in early March 2023. We consider this artist as a saxophonist, writer and feature soloist from about 1960 to today. Shorter was one of last who could talk of experience with the the Blue Note Records label, working with trumpeters from Lee Morgan to Freddie Hubbard to Ambrose Akinmisure. Working with leaders Art Blakey, Miles Davis, and Joe Zawinul. Having a musical partnership with peer Herbie Hancock. And being honored by Jazz at Lincoln Center with Wynton Marsalis. We play music this episode by all these artists who utilize the presence of Wayne Shorter. The man paid homage to his immediate saxophone predecessor Lester Young and was active alongside the still-active tenor sax man Dexter Gordon. The first hour is rounded out by new releases and classics from guitar and harmonica man Toots Thelma’s, violinist Jonathan Ng, pianist Michael Weiss, and blues men Johnny Adams (“The Tan Canary”) and Willie Big Eyes Smith. The second hour contains new and vintage recordings by saxophonist Ally Fiola, pianists Eric Reed, John Paul McGee and Bill Evans, and pianist/vocalist Shirley Horn. Registered with the groove, Hacksaw Jazz.

Description of Show # 2002, 03-09-23
​Herbie Mann is a jazz flute player remembered today, but his cohort also playing flute is Bobby Jaspar on our vintage opening number, continuing into the ‘90s with vocalist Nenna Freelon doing justice to the standard. Trumpeter Rachel Therien plays hot Latin rhythms on her newie, bassist Ben Wolfe turns out another piano-less recording we think is based on “I Love You” and “Love Walked In” (with horns by trumpeter Nicholas Payton and altoist Emmanuel Wilkens, vibraphone by Joel Ross). For vintage Latin big band arrangement we present Chico O’Farrill, and for one of the relatively few times Charlie Parker and Dizzy Gillespie recorded together, we hear a masterpiece performed at Toronto’s Massey Hall. Ahmad Jamal is happening on piano with voices and handclaps, new lady vocalist Danielle Wertz hints at a Brazilian mood and trumpet soloist Jon Faddis performs a classic in front of a big band. In our second hour pianist Horace Parlan harkens back to the Blue Note label sound, Gal Costa sings what might be called blues in Brazil. Jane Bunnett and Maqueque is a supergroup of ladies, with the leader on sax. We mellow out with Herbie Hancock as a true original in piano style and composition. Lorraine Feather may be Leonard’s daughter, but she displays her own taste of jazz as vocalist, possibly pianist. The Tommy Flanagan Trio plays an Ellington number (bassist Ron Carter & the drummer have excellent interplay trading fours and twos, but are uncredited on the CD). Diego Figueiredo is a nylon acoustic guitarist hot on tour at the moment, and we sadly are reminded blues singer and harmonica player Lynwood Slim passed in 2014 at age 60. Buddy Guy is heard from a 1969 recording and we wrap with Louie Bellson’s 7, featuring a drum solo of exquisite taste. Everything goes thru an awakened heart, a natural musical flow as long as it wants, Hacksaw Jazz.

Description of Show # 2000, from Westside Blues and Jazz, 03-02-23
​We made it to jazz radio show # 2000, sure glad of that. It’s only taken 10, 20, 30 40 + years to do it, how much longer should we go? This episode from sponsor West Side Blues begins with Gene Harris and the Three Sounds from the Penthouse. One new release from Planet D Nonet for Duke Ellington and then it’s back to the latter’s triumph at Newport 1956, with un-intended stereo sound. Three more recent releases get spun from the all-lady Astara Project to Karl Silver’s trombone to the bass of Buster Williams as leader. To wrap hour # one, our temper tantrum is channeled thru Ray Anderson’s trombone freakout, bringing back memories of seeing this forward artist touring behind this very CD release back in the day. Our second hour of live celebration picks up with a trifecta in blues, Albert King, Ray Charles and James Cotton. Culture shock is achieved with our segue into NY vocalist and radio presenter Mary Foster Conklin presenting just the right mellow for early in the morning. Thelonious Monk performs his tribute to Bud Powell, and along for the audition is singer Jon Hendricks, unaware of being recorded, and receiving nothing but notoriety in the process. For genuine 17-piece big band we turn to Terry Gibbs from the vibraphone, and, oops, we almost forgot the request for Freddy King out of order. To preview Jazz Appreciation Month in April, we demonstrate a global attitude from Morocco provided by Jivko Petrov, then harken back to Black History Month in February with Anthony Branker & Imagine containing a profound, moving and appropriate commentary recitation by Ms. Alison Crockett. We conclude with one of the biggest projects by Miles Davis, backed by the Gil Evans Orchestra, Sketches of Spain. Takes care of our minds the moment before the world awakens to go mad, Hacksaw Jazz. 

Description of Show # 1999, 02-23-23
​Two happening tracks together set our tone, trumpeter Eddie Henderson pays tribute to Bobby Hutcherson and the Blue Note All Stars celebrate the state of their label in 1996 with trumpeter Tim Hagans and saxophonist Greg Osby in the front horn line. We give the singers some, Grady Tate is followed by Sarah Vaughan. The next of our new releases is from the Planet D Nonet, D for the Duke of Ellington with a guest appearance from the passionate T-Bone Paxton. Also new is busy music by Rafael Zaldivar, “Crying for Cuba.” From the melodic archives we spin saxophonist Paul Desmond, then ring romantic rhythm with Mongo Santamaria, concluding our first hour with Cannonball Adderley, hip all the way, performing the funky “Jive Samba.” Little by slowly we resume with blues lady Karen Lovely asking a musical question, followed by Oscar Peterson easy on the tempo, but solid on the piano. One of the most important jazz links of the Detroit scene in history is pianist Barry Harris, and Supersax plays five-part Charlie Parker sax harmony. Poetry? Guided Meditation? Humor? A vocal recording? All of the above come together with Ken Nordine’s “Word Jazz.” We don’t play enough big band, so savor our time listening to the California soul of Gerald Wilson. We thought we’d heard it all, until discovering Pat Martino’s guitar version of Coltrane’s “Africa.” Our next new release comes from Benjamin Lackner Mathias, one of many released in rapid succession by the legendary ECM label. Fitting just right is bebop pianist Bud Powell, and we conclude our second hour full-circle back with the blues, Jimmy Vaughan’s guitar. Plight of the odyssey, In defiance of infamy, Hacksaw Jazz.

Description of Show # 1998, 02-16-23
​We don’t often go to fusion jazz on purpose, but it happens in a few places this episode from Full Moon Hacksaw headquarters. Pete Escovedo plays timbales at the start. Without even intending to break out the Tequila, we present Dominican pianist Michel Camilo in 7/4 time from the Blue Note. A new release from a new name, Mark Ortwein, features baritone sax and fuzz guitar. And it takes more time to research Richard Berry’s Louie Louie than it takes to play the record. In fact we need to hold Mr. Berry over to join Etta James to determine when all this west coast R & B to Rock & Roll fell by. We know pianist Jay McShann was one of those blues roots, heard this time with jazz soloists doubling on many instruments in the late 1970s. Joe Henderson is sensitive yet authoritative on tenor sax interpreting Jobim, as young lady trumpeter Rachel Therrien plays Dizzy Gillespie with a Latin rhythm. Bobby Hutcherson joins in the groove playing vibraphone and marimba, and Emir Deodato plays electric piano with his trio in the aughts. To start hour # 2, we bring in mallet man Milt Jackson backed by relaxed but definite swing. John Coltrane continues an identical tempo with pianist Cecil Taylor for a back-alley, middle-of-the-night mode. From a new compilation by Blue Note covering “London’s vibrant jazz scene,”  comes a 2002 recording of trumpeter Byron Wallen. The long-living Ahmad Jamal performs with energy and orchestration, and Stanley Jordan taps the guitar fretboard with the left, and plays impressive piano with the right hand. Giving the ladies some, we feature two in a row who also lay down their own piano: Diana Krall followed by Shirley Horn, the latter bringing in Miles Davis trumpet of 1990. It’s the deepest part of the show achieved, where we’d like to go every time.  Enough of the dreamy stuff, we need a trombone in our lives every day so call on Jay Jay Johnson (so that’s what the initials stand for) and a guitarist named Rene Hall, playing what wasn’t even a hit, but a B side. We are the damned due to the obscure, Hacksaw Jazz.

Description of Show # 1997, 02-09-23
Highlights of our presentation this week contain Brazilian rhythms, first off the voice of Shirl Zorn, accompanied only by guitar and percussion to excellent results. From the vaults Luiz Bonfa plays delightfully delicate acoustic guitar from a classic album. Why not follow that with saxophone great Charlie Parker? He is followed by two guys with old souls and a new recording, Grant Stewart’s sax sounds like Sonny Rollins but his trumpet mate Bruce Harris is more Bix Beiderbecke. Our Hacksaw Calientie portion brings in Orquesta Akokan followed by more current-day musicians Alfredo Rodriguez and Pedrito Martinez. Trombonist Steve Turre has an excellent album out from 2022, as does vocalist Amber Weeks who sings a Duke Pearson classic. Jamming in loops are Phil Ranelin, Wendell Harrison, Adrian Younge and Ali Shaheed Muhammad from their 16th installment of “Jazz is Dead.” Hour # 1 concludes as Dexter Gordon rides again, from the ‘Round Midnight film soundtrack. We haven’t heard Hammond B3 organ in a while, so in comes Brother Jack McDuff with hard-swinging tenor saxophonist Gene Ammons. Julie Wood is a tenor saxophonist pulling the tempo back from Chicago. We return to salsa and Latin jazz with Mongo Santamaria, then Ocho playing a Bebo Valdez composition. Back from Brazil comes Damon Meader with a 2023 release of passionate vocal over a mellow horn arrangement. The wicked Memphis voice of Ann Peebles begins another segment, giving way to innovative small group improvisation from the Avi Granite 6. From the way-back machine we spin guitarist Howard Roberts, who lists his dazzling pianist as “John T. Williams,” later to omit his middle initial when becoming world famous for film scores and classical conducting. Our final track comes from hard bop sax man Hank Mobley. After ground, under hours, where and when creative energy is in its deepest space, Hacksaw Jazz.

Description of Show # 1996, 02-02-23
​Give up and something happens: Memphis piano starts our engine with Phineas of the Newborn family, then to a jam session in miniature direct from Cuba with bassist Israel “Cachao” Lopez, followed by lighter Latin from late in Cal Tjader’s lifetime. The 3D Trio, or the Three Diva’s, play vintage Chano Pozo music from their new release. Representing the 1990s is Ms. Jeannie Bryson singing in a honey-dipped voice, and saxophonist David Newman plays from his first LP, presented by then-employer Ray Charles. Mellow piano continues for a couple tracks, Miki Yamanaka recorded in 2017, with Herbie Hancock’s rich mid-range brass arranging from the 1960s. A new and almost protestant grouping brings together piano-trio-plus-sax called East Axis to end hour # 1. The early 1970s were good for noticeable changes in Mingus music, whereas today Lucy Wijnands voice, John Di Martino’s piano, and Harry Allen’s sax prove that Jimmy Van Heusen songs are still in style. San Diego’s Gilbert Castellanos releases his first trumpet album in some years, with front-horn line mate Christopher Hallyday on sax. In a recording we believe produced out of Portland, nylon guitarist Ramiro Pinheiro, in collaboration with flutist Alice Bogaert, play Brazilian melodic lines spot-on. Bassist Leon Lee Dorsey and regular rhythm section mate drummer Mike Clark bring in guitarist Russell Malone to perform Horace Silver music. Blues Radio Hacksaw this section features Freddie King and Jimmy Reed. Continuing to review 2022 releases, we play a couple acts fresh off the January Tucson Jazz Festival, the Heavy Hitters of Mike LaDonne and Eric Alexander, and I’m sure everyone’s discovery of last year, fabulous singer Samara Joy. Finally, out of turn, B3 organist Tony Monaco introduces Willie Pooch to sing “Cut your wood so good, can’t help but say Hacksaw.”

Description of Show # 1995, 01-28-23
​Fresh back from the Tucson Jazz Festival, we continue ’23 with high level music. For example bassist Domi Edson brings in pianist Spencer Zweifel and drummer Bobby Wiens for a bossa, saxophonist Zoot Sims continues the feeling switching to his patented swing. When Chet Baker plays deft trumpet, you can almost hear his singing. Aimee Allen really does sing, drawing on inspiration from, and tribute to, Chick Corea, Flora Purim and early Return to Forever. And the singing continues in scat, with Lambert Hendricks and Ross mimicking horn solos, Airegin spelled backwards? Charlie Hunter’s trio is funky with new underground from the mid 1990s, Dave Brubeck extends a range above and beyond the classic quartet. Houston Person has a great beat behind tenor sax, and Oscar Peterson is heard in his early 1970s prime for the first time on a previously unreleased new album. In hour # 2 pianist Bill Charlap shares what he’s currently doing on-tour, Wes Montgomery takes the swing down ever so slightly, from 1965 era Half Note in New York. It’s Blues Radio Hacksaw with Magic Slim, plus Anson Fundergurgh with Sam Myers. Feel the funk in jazz, first with guitarist Dave Stryker, then trumpet with classic Tom Harrell. Our sleeper feature is from Leon Henderson and Kenny Cox, the former sax-playing brother of Joe Henderson, latter a pianist, drawing from the Miles Davis-Tony Williams vibe of the parallel mid 1960s. Hacksaw Caliente presents Emiliano Salvador and Spanish Harlem Orchestra back-to-back. For bossa relief Afro-Cuban Chuchito Valdez plays Brazilian. One of the greatest romantic jazz ballads is played this time by tenor sax soloist Richie Kamuca. All these records our predecessors have left us to play for you into perpetuity, Hacksaw Jazz.

"Best Of" Show description, 01-19-23
We’re glad Verve Records found the “Lost Berlin Tapes” of Ella Fitzgerald, starting our program saying “I don’t know TOO many…” Bobby Watson and Cyrus Chestnut pay reverence to a Coltrane ballad, then it’s ‘Trane himself on soprano sax, Favorite Things at Newport 1965. Whenever you wanna light up a room, call on vocalist Dennis Rowland who’s always solid, backed by trumpeter Wallace Roney and piano by Joe Sample.  NOT BAD. George Adams and Dannie Richmond may have been cursed by the resentments of their late employer Charles Mingus. New name Canadian bassist Lauren Falls is mellow, and speaking of resentments, Mr. “Night Time is the Right Time” Nappy Brown asks Don’t be Angry. In our second hour we spin our favorite and most swinging jazz violinist of all time, Stuff Smith. Lambert Hendricks and Ross sing mimicking horn solos. Rahsaan Roland Kirk plays a clarinet version of Fats Waller, and metaphysically compatible Charles Lloyd is impassioned on flute. We see what Adam Schulman did with his title, engaged listening reveals it’s “Body and Soul” but up-tempo. Sam the Man Taylor comes on like a Cloudburst, but a younger Sam Taylor makes it obvious he’s heard Ben Webster and also Joe Henderson.  Speaking of veteran tenor sax, dig Coleman Hawkins who welcomes Clark Terry.  NOT BAD. We wrap with our favorite lady singer from Detroit, Kathy Kosins. It’s only work if you’d rather be doing something else, Hacksaw Jazz.


Description of Show # 1993, 01-12-23
​Let’s continue cultural engagement of the arts, after all, violence and violins together are not a good idea. We’ve got a classic from the ‘40s, shortcut to the ‘60s thru the ‘90s (somehow bypassing both the ’00s and ’10s entirely) only to also feature a handful from 2022. In the 1980s all the leading organists were still recording, we took Jimmy Smith for granted with his usual gang of Stanley Turrentine, Kenny Burrell  and Grady Tate, now all gone. New big band music from Bernie Dresel continues, classic jazz blues from Oliver Nelson follows. We go with piano, first hearing Billy Taylor solo then McCoy Tyner with his New York Reunion. Charles Mingus is captured in one of his last recordings with the Brecker Brothers and other luminaries present. One of the better guitarists we’ve heard recently comes from the Bay Area named George Cotsirilos. The Astara Project, an all-female group of cutting-edge musicians, wraps our first hour. In our second hour, blues man Lucky Peterson claims “can’t get no lovin’ on the telephone.” (Phone sex services might disagree with that statement). Chris Cain finds himself in a pickle with a policeman’s wife, and Brenda Boykin appears with the Johnny Nocturne Band performing a Big Maybelle cover. We thrive on culture shock so from blues to Latin we go, first from Connexion Latina to Poncho Sanchez. We are impressed with the new voice of Caity Gyorgy. In our home stretch it’s baritone saxophonist Jason Marshal playing a ballad for Bird, a greatest jazz hit from Wayne Shorter, then guitars rest of the way with Tal Farlow followed by Django Reinhardt. It’s only work if you’d rather be doing something else, Hacksaw Jazz.

Description of Show # 1992, 01-05-23
​Themes for this first radio episode of a new year are: “2022 Releases in Review” with six tracks, and “Jazz of the 1970s” with four tracks from that decade. Our target is the highest or uncommon denominator. “One for All” is a collective group featuring co-founder Eric Alexander on tenor sax, his tone so gorgeous you can name his influences. For penultimate taste in guitar, just turn to Kenny Burrell who brings the sax of Joe Henderson in-tow. One of our new releases comes from the SWR Big Band, a combination of Charlie Parker interpolations and Latin rhythms. San Diego trumpeter Gilbert Costellanos plays a bit of Lee Morgan, from the former’s recent collection translated to “Wait for me in Heaven.” Muddy Waters has the blues from his later days with Johnny Winter. Time to give the ladies some, first with alto saxophonist Ana Nelson, followed by clarinetist Anat Cohen, and concluding with bassist Domi Edson and trio from Denver. Our first half closes with a Freddie Hubbard classic. Santa Clause was really good to us at holiday time, bringing us so many vintage records there’s no way we can play them all in 2023. Back to the ’70s with Jimmy McGriff, one of a handful of legendary B3 organists. The next new release is from a collective trio of drummer Mike Clark, bassist Leon Lee Dorsey and pianist Mike LeDonne, playing another melodic title. Pianist Monty Alexander sings for the first time on his new release after 75 previous recordings. Vibraphonist Cal Tjader is in jazz mode with Paul Horn alto sax. The Modern Jazz Quartet in 1960 pays tribute to an earlier jazz giant from the ‘30s and ‘40s. Herbie Hancock features guest vocalist Joni Mitchell in the 1990s when her timbre took on a darker hue. By now we arrive at a point when creative energy is in the deepest space: Thelonious Monk plays perhaps his most profound version of ‘’Round Midnight,” all alone solo at the piano. We bring the tempo up only slightly for light swinging from fellow pianist Wynton Kelly. We are rooted in, and have respect for, tradition while having a finger on the pulse of what’s happening RIGHT NOW. Who’s in the game? Where are we going? Hacksaw Jazz.

Description of Show # 1991, 12-29-22
​Pianist Kenny Barron and his recent quintet are featured from a recent release, and no one sang like June Christy who we appreciate more with each spin. For authentic blues we suggest Dave Riley from the early 2000s, and from among recent Latin Jazz recordings we present multi-talented Mike Eyia and Ritmo Patria. We hold in memory the live performances lucky enough to have seen by not only saxophonist Sonny Stitt but also organist Jack McDuff alongside. Nylon guitarist Charlie Byrd brings in clarinetist Ken Peplowski for ultra-compatible bossa nova, then we hear saxophonist Stan Getz who must come up in any conversation around this category. To wrap our first hour together, the incredible Betty Carter spins layers of original vocal bebop. To commence our second hour, Joe McCarthy's Afro Bop Alliance Big Band performs a portion of The Pan American Nutcracker Suite. Drummer Jonathan Mills and his group are more than ready to go, and the rage of the age, Ms. Samara Joy, sings a jazz pop standard. Michael Kocour fires up the B3 organ, then his guitarist Bruce Forman is held over for his another group called Cowbop, commanding two-steppers into to bebop dance. Recently we met Julie Wood (who’s appearance we might have mistaken for the school nurse at a kid’s grammar school) only to hear hear play tenor sax and sing with gobs of soul. We treasure the time we have to feature a most classic ballad, “Stardust” by Lionel Hampton’s All Stars, west coast jazz circa 1947. And to wrap our review of 2022 recordings, we have selected saxophonist Chad Lefkowitz-Brown, who re-does an already re-done Herbie Hancock favorite. Some of the first music heard out of the womb of a new year, Hacksaw Jazz.

Description of Show # 1990, 12-22-22
​In the beginning there was jazz, and it cried out with the human voice for instruments. Those very instruments turned around and influenced the human voice to create “vocalese,” sung by Lambert Hendricks and Ross. From these beginnings we feature vocalist Lucy Yeghiazaryan singing on a Grant Stewart saxophone album. Then from our archives, giants Kenny Burrell on guitar and sax man John Coltrane meet, and hard-working New York drummer Bill Stewart in the 1990s makes waves. From here we feature not the best of 2022 releases, nor necessarily our favorites. But rather a review going back over some newies we’ve received, checking what we may have missed in 2022, maybe to dig out even deeper tracks. The group “Songon” plays the Yardbirds. Stanley Turrentine blows sax one more time. Record label “LeCoq” shows off their new All-Stars, vocalist/writer Yvonne Flores features trumpeter Bill Ortiz. And no one grooves like the blues of John Lee Hooker. In our second hour, Canadian pianist Bernie Senensky brings in Bob Mover on sax and Sam Noto on trumpet; followed by solo electric guitar presented by Avi Granite and Ted Quinlan. Joe Williams shouts with power and ease, Blossom Dearie is delicate. Sax man Azar Lawrence utilizes his Coltrane influence (with Nduduzo Makhathini very much like McCoy Tyner’s piano). We must proceed with John Coltrane himself, then another sax man named Frank Morgan. Singer Melody Diachun pays tribute to Sting and Orquesta del Salsa demonstrates Afro Latin music targeted to listeners outside Cuba. Finally, trumpeter Gabriel Mark Hasselbach plays “So Danco Samba.” We appear on FacebookLive, but neglect to show our Santa sox, dig that crazy Jingle Saw Jazz.

Description of Show # 1989, 12-15-22
Some of our tracks have street-smart credibility, others high-art trends. Like any family reunion, we get the “theater of the absurd.” pianist Sir Roland Hanna really was knighted, Artemis is a supergroup of all females, here featuring vocalist Cecile McLoran Savant. If there is any theme to the collection, a lot come from the 1970s. Take Art Pepper playing clarinet (backed by Charlie Haden & Billy Higgins) and follow with Rahsaan Roland Kirk on flute. Continuing with reeds, ex-pat Herb Geller plays them all featuring vocalist Mark Murphy. In newer names we listen to saxophonist Jerry Cook who has the exuberance of a Stanley Turrentine, and concluding hour # 1 is a representative group of today’s best, the WJ3 All-Stars creating Beatle jazz. To start our second half, churchy piano is played at medium tempo by the Ray Bryant Trio, we can’t lose with the blues of Albert King and Koko Taylor. By the time we get to trumpeter Freddie Hubbard, he had already broken thru at the Blue Note label, had recorded fusion fare for Columbia, and with “Red Clay” had a successful follow-up in a continuing career for a new label called CTI. Javier Moreno co-leads the group Relojeros ya no Quedan (“Watchmakers are no more”) from Buenos Aires, supporting more clarinet being played by young musicians these days. Duke Ellington is heard from a 1959 studio session, with short solos from most of his star sidemen of the day. With guitarist Wes Montgomery, there is no substitution for technique & feel. And for closers, leader and bassist Rodney Whataker head of Michigan State University’s jazz department, features lady vocalist Rakel Fortin & today’s horn men Terrell Stafford & Tim Warfield. The only thing we couldn’t find this episode was Thelonious Mongo and his record “I’m in the jail named after me.” Has to be mis-filed. Hacksaw Jazz.
Description of Show # 1988, 12-08-22
​Straight ahead, Calgary drummer Bobby Wiens speaks volumes from a session he recorded in mid lockdown, in safe harbor and from the deep tracks category. From 1979 drummer/leader Mel Lewis is heard on an early digital recording with his orchestra fired into shape. Keith Jarrett’s solo pianist is heard rousing “a community of listening at the edge of silence” from a recently released concert in Bordeaux, magnificent in every way: Condition of piano, recording balance, and space of the room. The sax/bass/drum Trio Xolo is do-able, knowing full well they’re not for everyone. Delightful are the “Ragas and Waltzes” of pianist Charu Suri. Duke Pearson’s Big Band is heard from the Half Note club days. Sahsa Dobson sings while Peter Bernstein strums, and Ruben Blades joins Louie Ramirez, Papa Luco and Bobby Valentin for a Fania All Stars date. Benny Goodman represents the swing era, Stan Kenton had a Phoenix connection. As hour two begins we wonder what Phoenix connection Lester “Pres” Young had… Avi Adrian’s piano trio pays tribute to late and very young composer Adar Broshi. From a previously unissued release is Oscar Peterson’s trio recorded live from Zurich in 1971, capturing the sonic quality of arguably the most technically adept jazz pianist of all time. Etta Jones offers ultra great taste in her vocal delivery joined by pianist Benny Green. Singer Aimee Allen has a new one, with seemingly new words to a classic jazz melody, “Little Sunflower.” We find John Coltrane playing soprano sax in an early 1960s piano-less trio, and Grady Tate steps away from behind the drum kit and out front-and-center at the vocal mike for a Randy Newman statement. From the week’s blues entries hear relative newcomer Ruthie Foster, especially compared to legend Sonny Boy Williamson. It’s not what we are, it’s what we’re becoming. On the way, not at the goal, Hacksaw Jazz.

Description of Show # 1987, 12-02-22
Emerging guitarist David Blake begins a program of innovation, and although we have the latest EP by Sara Gazarek, we discovered an astonishing 2005 track of hers we like. Vocalist Saku Mantere is substantive and tricky, drummer Shelley Manne is straight ahead with a mainstream sleeper. We are In our stride, pun intended, once we hit pianist Eroll Garner. Tony Monaco burns on B3, Eddie Palmieri keeps up the heat, and French violinists Jean-Luc Ponty and Stephane Grappelli remember a past violin great. In hour # 2, alto saxophonist Art Pepper is in good form, Billy Boy Arnold plays the slow blues done right and Madeleine Peyroux’s got the Bessie Smith blues. Drummer Snorre Kirk seems to be channeling Duke Ellington and his sidemen if they were living and playing today. From the totally free category in Harlem piano is Emmet Cohen. Johnny Hodges plays sax with Roy Eldridge’s trumpet and piano by Billy Strayhorn. We play a special request by Joe Simon, then it’s Brownie on Blue Note, meaning Clifford Brown on trumpet. The John Coltrane segment has his classic quartet in meditation, then guitarist Bill Frissell plays it out with four-piece but no bass. How we treat each other is more important than what we get done here, Hacksaw Jazz.

​Description of Show # 1986, 11-24-22
​Blues men and vocalists of any kind fall out this entire episode, in fact not a big band to be heard for a solid mile. THESE ARE CRIMES. As we await sentencing on them, in our defense we have plenty of small groups, ballads, and spotlights on guitarists and lady artists. Canadian bassist Dave Young begins with trumpet, sax, guitarist Reg Schwager and drummer Terry Clarke. Then Joe Henderson is the consummate artist on a standard with Chick Corea at the piano. Speaking of pianos and saxes, Dave Brubeck hosts Michael Brecker, then with no piano safety net, saxophonists Paul Desmond and Gerry Mulligan blow up a quiet storm. Guitar leads our next segment, but its player Emily Remler ushers in three compatible ladies to follow: Rebecca Coupe Franks plays trumpet from Venus (which we don’t understand but are eternally grateful for in mystery), bassist and composer Lauren Falls is introduced, and long-established pianist and composer Renee Rosnes leads a group of all-stars. In hour # 2, drummer Elvin Jones is followed by his long-time employer saxophonist John Coltrane, and guitarist Bucky Pizzarelli Sr. plays Bix Beiderbecke (anyone remember Bix)? Pianist Billy Taylor is in a light Latin mood, and instrumentally the Cuban fare is heavier with the Echo Park Project. We wonder if late guitarist Gabor Szabo is watching down lovingly because Brian Baggett’s guitar echoes the masters first, Julian Lage follows, and the hot guitars of Herb Ellis and George Benson (not often, especially since the 1970s, is Benson focused on as a hot jazz guitarist) go next. The last two with leaders Oscar Peterson and Dexter Gordon BTW, NOT BAD. Don’t mind us, we’re just pursuing own personal continuing (nearly) illegal education, Hacksaw Jazz.

Description of Show # 1985, 11-17-22
As in a lunar eclipse, our presentation has a beginning, a middle, and an end. Vibraphonist Milt Jackson brings on a fiery performance including saxophonist Teddy Edwards and pianist Monty Alexander. Then we join the Christian Jacob trio on tour. In what was probably the very first take of the famous John Coltrane ballad “Naima,” we hear backup musicians switched-up. Then on to the latest winner of the Sarah Vaughan Competition, who goes simply by “Tawanda.” Her material is so grammatically and politically correct: “Ain’t no gal I’d rather be…” Saxophonist Tom Scott leads a big band for a track also featuring saxophonist Phil Woods. In a tribute to Ornette Coleman, Pete Barenbregge and Frank Russo build on a theme already stated. Young Jon Faddis blows high-note trumpet in the 1980s, backed by veteran musicians not long for the world at that moment. Roy Brown sings as if rock and roll was browning nicely in the oven in 1949, and Ike Turner’s guitar/vocal track demonstrates how solid the rock had become ten years later. The middle part of our lunar eclipse is Inspired by a YouTube entitled “Hacksaw Jazz Vintage Eddie Lockjaw Davis interview,” and one comments is: “What a great player. Thank you for sharing.” Next, Rafael Greco defines micro measures of time! “Thanks to Tom Coulson and all the people at KRDP 90.7 FM in Arizona…Gracias.” And Pete Escovedo plays out our “Hacksaw Caliente” portion accurately. Clarinetist Darryl Harper has a new release of the classical continuum in a bass/drum trio, Billie Holiday sings her best-known composition. Spike Wilner is one of the best-known New York jazz pianists at the moment, and has a new release of Monk and Ellington. In another tribute to Ornette Coleman, Pat Metheny’s first well-known trio features Jaco Pastorius. Bassist Alex Tremblay has utilized his new collection to showcase original instrumentals inspired by the lockdown and world conditions. The sleeper of the show is a singer named Paul Marinaro who’s peculiar voice fronts a great groove. Then HoRo, a guitarist from Arizona, keeps it mellow. All decades from the 40’s thru ‘20s are covered…the lunar eclipse has elapsed. 
Description of Show # 1984, 11-10-22
​Trumpet great Arturo Sandoval heads up a new group of similar young hot musicians as the original crowd he came to America with from Cuba almost 50 years ago. Quincy Jones is spun from the past with fierce big band swing. The rage of the age is singer Samara Joy and we nod to Blossom Dearie while we’re at it. A block of blues and gospel is represented by Junior Watson, Alabama Mike and the Blind Boys. We are grateful for young artists like trumpeter John Hasselback III for treating classic melody with reverence, and for a new generation of Monk with drummer TS (as good a Max Roach of today as anyone), employing pianist Helen Sung in place of Randy Weston. Drummer/leader Quentin Baxter wraps the first hour playing music by Bobby Watson. The second hour starts with the Ostara Project, a combination of Canadian female jazz musicians who are retro and forward at once. Bassist Red Mitchell swings the west coast from a vintage groove, and Vicky Burns sings her own lyrics to a favorite Thelonious line. Cal Tjader puts the right swing into a Latin rhythm, and Duke Ellington with John Coltrane stir emotion to the max from their only session together. Our favorite lady singer from the Bay area circa 2012 has to be Tara Linda. Vanessa Racci sings from a new release called Jazz Italian, and the sleeper of the episode has to be pianist Emmet Cohen, starting off like Duke, shifting to Monk with mature Johnny Hodges overtones, overlying a Mingus feel! For classic piano intensity we call on Chick Corea’s original La Fiesta followed by McCoy Tyner and chorus, from the mid 1970s. The full moon as backdrop and beauty for the wee hours, Hacksaw Jazz.

Description of Show # 1983, 11-03-22
Our opening musician is no amateur, Lou Donaldson is today a 95-year old seasoned alto sax player! He is followed by Bobby Watson, also an alto saxophonist, who came along in the ’70s, providing an excellent groove from his latest release. Our pick to click is Caity Gyorgy with an excellent voice and good backup musicians. Drummer Alex Acuna has a newie under his own name, with reminders of his Wayne Shorter and Weather Report group years. Steady and swinging is vocalist Catherine Russell, grooving is the late pianist Mulgrew Miller and rather magnificent is the combination of trumpeter Randy Brecker and arranger Mats Holmquist performing a Chick Corea composition. To conclude our first hour, it’s pure energy from saxophonist Alexander McCabe. In hour # 2, we begin with baritone saxophone from newcomer Jason Marshall playing Joe Henderson music. For our Latin jazz fix, we again call on Celestino Sanchez instrumentally. Most naturally Brazilians Antonio Carlos Jobim and Elis Regina follow. Then it’s Coltrane time, from a searching session in May ’65 with infrequent drummer Roy Haynes. Jon Cowherd’s trio makes piano jazz fresh, Larry Coryell and Emily Remler provide an intimate acoustic duet from beyond, and vocalist Kate Baker releases a duet record of recordings with her now-late guitar-playing husband Vic Juris. Our blues track by Willie Dixon is dedicated to all the late greats from the King Biscuit Blues Festival, which is now officially rebooted every October right back where it all began back in 1941, Helena Arkansas.  Blues Radio Hacksaw. ​

Description of Show # 1982, 10-26-22
​We’ve got CDs, vinyl, digital files and even tapes, we stop at nothing to find a groove, “our footprint, our presence.”  Alto sax player Eric Person welcomes Houston Person (no relation) on tenor sax, “excellent, outstanding” are words to describe the succeeding tracks of lady singers Samara Joy, Lucy Yeghiazaryan, and Melody Diachun all in a row. Pianist Steve Hudson receives credit for playing as good (or better) a cover than previously-recorded jazz versions of “If I Were a Bell.” Canadian sax player Keith O’Rourke shuffles ad swings away, and good guitar seems to pervade many of our tracks this session, just listen to David T Walker accompany piano great Joe Sample. And wait, there’s more: Stevie Ray Vaughan goes next, as does his influence Jimi Hendrix. And who follows up with energy? Nonagenarian George Freeman, Chicago guitar jazz legend, from his new release. In hour # two, the biting sax of Arthur Blythe is backed by flute, guitar, and drummer Jack Dejohnette. And you know home is where the bone is, we mean by that the trombone. Connected Bones play a Chick Corea tune providing purpose and direction for the “bone.” Just in case someone out there isn’t aware, Miles Davis’ album “Kind of Blue” is considered possibly the best of all time. Jimmy McGriff provides ample B3 organ, along with a couple of tenor saxophonists roaring their way into just a few minutes. More blues with Ruth Brown, who along with Dee Alexander a few tracks later are both KILLIN’ IT. Their topic is the wolf man at the door, times are desperate! In between we feature a classic from Percy Mayfield, the newest from bassist Neil Swainson, and of course satisfy our Latin jazz fix with “C-San II.” We need at least an hour or two for a soundbyte, our mission and motive is to have a radio broadcast experience EVERY time. Hacksaw Jazz.

Description of Show # 1981, 10-20-22
​Spirited piano starts our first track, with Kevin Hays revealing what they do with “Scrapple from the Apple.” Next, Herbie Hancock re-unites his ‘60s quintet around his electric Yamaha Grand in 1977, by then all players in their prime and more experienced with other leaders and groups after the original studio gathering.    Guitarist Barney Kessel offers a palette cleanse, then we’re into muscular saxophone. First with Todd Herbert followed by Sonny Rollins playing a ballad. Drummer Louis Hayes brings in vocalist Leon Thomas to perform a Freddie Hubbard tune, then we get re-acquainted with two top players from the bebop era: The Bird, Charlie Parker, and trumpeter Fats Navarro who would have been famous like Dizzy had the younger trumpeter lived. Part of our second hour happens every year, drummer Philly Joe Jones and his Blues for Dracula followed by Lambert Hendricks and Ross, who always must follow with “Halloween Spooks.” We hold over singer Annie Ross for her original words to “Twisted.” In new releases we enjoy B3 player Brian Charette, the electric Soren Lee Diversity Trio, and another piano trio led by Nicholas Politzer for music that’s free, suspended, and out there. A different kind of Latin “salsa” follows with Panamanian Ruben Blades and his synthesizers in the 1980s, then the blues with Jay McShann, Bill Dogget, a Muddy Waters track we’ve been meaning to get around to for some time, and Lightnin’ Hopkins. Our final track has equal billing between drummer Steve Gadd, bassist Eddie Gomez, and baritone saxophonist Ronnie Cuber who just died October 7th as this album was officially released a couple days later on the 10th. In between selections we give you all kinds of information on the music and the players that will certainly save all of our lives, Hacksaw Jazz.

Description of Show # 1980, 10-13-22
We play the obscure so you don’t have to. Saxophonist Dexter Gordon plays “Blues Walk” (the Clifford Brown/Sonny Stitt tune, not the Lou Donaldson melody of same name), and we spin a track from currently hot guitarist Julian Lage. Pianist Michel Camilo’s selection is entitled “Albertina,” based on Sonny Rollins’ “Doxy?” and Eliane Elias welcomes Gilberto Gil, performing one of his Brazilian tunes. For compatible new releases we select pianist Connie Han followed by Canadian drummer Ernesto Cervini. Chris Cortez stands out as a new name in jazz guitar, bringing with him Bob Thornton on piano (we can’t resist asking: Any relation to Billy)? Then we compare three big bands within two vintage vinyl tracks: Duke Ellington and Count Basie meet for the first time, then we hear echoes of a Woody Herman “Herd,” including the band’s hot soloists, from an old 78 RPM hit. Hammond B3 organ music always livens things up, and today we call on Richard Groove Holmes. Rafael Zaldivar is a new young Afro Cuban pianist, drummer Aaron Seeber fronts a small group of excellent soloists in Brooklyn, including Tim Green’s alto sax. Perez Prado demonstrates cha cha cha instead of his usual mambo, and Daniela Soledade is a young lady singer representing today’s generation of Brazilian vocalists. From the post-covid lockdown emerges saxophonist Jacob Chung, a true natural. Then prepare to be mesmerized by John Coltrane’s 1962 masterpiece “Ole,” featuring Eric Dolphy on flute. We put CDs, vinyl, and hard drive files in blender. But not to a smoothie, we want organic nutritious chunks as part of our ingredients, Hacksaw Jazz.

Description of Show # 1979, 10-06-22
​For starters it’s the ultimate tribute irony: Leader Joey DeFrancesco on organ, who died in August 2022, welcoming guest saxophonist Pharaoh Sanders, who died September 2022…The sax man’s tone on mystical metaphysical material is dreamy & strong. Bay area guitarist Calvin Keys follows, bringing in Steve Turre to freak out on trombone for a bit. Saxophonist Gregory Tardy emerges sprightly on a soulful new album, developing a still more personal sound. Jazz flute is a welcome genre, this time with Yusef Lateef who was a player incorporating the human voice on that instrument. For truly personal saxophone expression, listen to Sonny Rollins on a track where we get two saxes for the price of one. For the balance of our first hour, we meander thru myriad blues, letting loose on a segment comprising Candye Kayne, Little Milton, the late Smokin’ Joe Kubeck (Texas style), and more Texas blues classics from Clarence Gatemouth Brown and T-Bone Walker. Finally Howlin’ Wolf delivers a Chicago blues classic called “Spoonful.” We have fun in our second hour and why not? Bringing out saxophonists Vido Musso and Charlie Barnet, we add bebop vocalist Anita O’Day for west coast jazz circa 1947. Then we feature a piano showcase, starting with Edward Simon solo live. Oscar Peterson follows with pyrotechnics from a classic album, and then the late Ramsey Lewis, playing a totally different style, what we might call party piano, on his greatest hit “The In Crowd.” Then there’s Mose Allison’s piano, with sardonic wit of a lyric on top, sitting at the Mississippi Penitentiary “Parchman Farm.” For brief but swinging violin, Jonathan Ng plays for dancers. A mix ’N match collage fills out the program, a new release from drummer Al Foster, then salsa by Bochinche Caracus, an intimate recording of Cannonball Adderley’s alto sax, and drummer Danny Gottlieb in a rare leader setting. In an effort to better engage, we attempt to overdose on audio. We’ll let you know when we’ve had enough, Hacksaw Jazz.

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.

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.