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 Chris Clarke FROM THE HEART MJA Records CDMJA-515 Personnel: Chris Clarke, piano; James Ward, Tyrone Clark, bass; Artt Frank, Donivan Bailey, Mike Warren, drums; Gerald Dunn, alto saxophone; Ken Barry, soprano and tenor saxophones; Josh Sclar, tenor saxophone; Pat Morrissey, trumpet; Tim Perryman, trombone; Tommy Stewart, percussion Tracks: 18th & Vine; Tell Me a Bedtime Story; Mr. Clarke; Heart for Thought; Nenette; Norma's Kids; Carol Ann; One By One Recorded at Wheeler Audio Associates, Kansas City, MO; Korey Ireland, engineer. On From the Heart, Chris Clarke's regular group "Connect" is joined by an all-star cast from the Kansas City jazz scene plus long time Chet Baker drummer, Artt Frank. What follows is a smorgasbord of traditional bebop and cool jazz, with Clarke (as Frank says) putting "new wine into the standing bottles." Frank and Clarke wrote the bulk of the material on this album, and a couple of classics have been thrown in for good measure. "18th & Vine" kicks things off with a torrent of straightahead blowing from almost everyone; but at only nine minutes, it's a concise showcase. The tune was written by Clarke and Frank, and calls up memories of the large combo arrangements of the late fifties and early sixties. The track lasts, but no one stretches to the point of self indulgence. Herbie Hancock's "Tell Me a Bedtime Story" is next, with Josh Sclar providing Shorter-esque colorations, subtle dynamics and breath. Next up, "Mr. Clarke" brings along an easy swing, with Sclar and Perryman weaving seamless bebop lines over Clarke's active, intuitive comping (a familiar sound to those who have enjoyed Connect in K.C. clubs). The fourth track, Clarke's "Heart For Thought" is a ballad that draws on the traditions of the piano giants of the sixties, but is informed by Clarke's controlled phrasing. Here he shows great restraint while putting together a moving solo. Next is the Artt Frank/Ken Barry composition, "Nenette," a waltz for Bill Evans' widow, followed by "Norma's Kids," a lilting bossa nova by Clarke. "Carol Ann" provides the set with another ballad, this one written by Frank and Graham Bruce and dedicated to Chet Baker's widow. The album closes with a smashing interpretation of Wayne Shorter's "One By One." Caveat emptor: there is nothing on this album to satisfy "smooth jazz" fans. This is the real thing, representing some of the best musicians on the Kansas City scene doing their thing and doing it well. -- Rod McBride Luqman Hamza WITH THIS VOICE Groove Note Records GRV 1007-2 Personnel: Luqman Hamza, vocals, piano; Sonny Kenner, guitar; Kim Park, alto sax, flute; Tyrone Clark, bass; Tommy Ruskin, drums; ("Until the Real Thing Comes Along" only: Luqman Hamza, vocals, piano; Gerald Spaits, bass; Todd Strait, drums; Ahmad Alaadeen, tenor sax; Sonny Kenner, guitar) Tracks: Born To Be Blue; Feeling Good; My One and Only Love; Never Let Me Go; Weaver of Dreams; Until the Real Thing Comes Along; Blue Moon; My Funny Valentine; Don't Get Around Much Anymore; Laura; What Does It Take; Just One of Those Things; With These Hands Recorded June 7-8, 2000 at Airborne Audio Productions, Kansas City, MO; Michael C. Ross, engineer. ("Until the Real Thing Comes Along" recorded May 3, 1999.) Sometimes an album is nice for background listening. Other times such an album also deserves closer attention. And still other times an album worthy of both goes on to make a lasting impact. Luqman Hamza's new release, With This Voice accomplishes all three. It makes for wonderful late night mood-setting; there's plenty of musical meat if you dig into it more deeply; and it not only bears repeated listening, but it has made an indelible impression on this listener. The gold standard for jazz vocal ballad albums remains the six song classic Johnny Hartman and John Coltrane. Not very often have I heard another album that makes me think of that recording, but this one does. Not that Hamza sounds like Hartman, or that Kim Park sounds like Coltrane, but as I listened to With This Voice, I heard many things that made me think of that Hartman-Coltrane collaboration. First and foremost is Hamza's distinctive singing, which has a relaxed, unhurried, yet still powerful quality. Whether at ballad or brisker tempos, he is able to glide along as if singing was the easiest, most casual thing in the world, yet still sound completely involved in the lyrics. The second thing is the great sax/flute work of Kim Park. His fills and interjections mesh perfectly with Hamza's vocals, and his solos are strong additions to each song. A third is the selection of songs, which mostly shies away from overdone, worn out numbers in favor of those worthy of new interpretations. And finally, there is the goose bump factor -- that mix of beauty and power that brings on chills. Believe me, there are plenty of goose bumps here. The opening track, "Born to Be Blue" works its way from Hamza's bluesy piano introduction through his contemplative vocal. (His vibrato on sustained notes is gorgeous.) Kim Park's obbligatos are also outstanding, and when the tempo is picked up during his solo, he offers a perfectly crafted alto sax solo. While the album is laden with sumptuous ballads, Hamza is also more than comfortable at a quicker pace, as on the sprightly "Weaver of Dreams," where, as throughout the CD, Tommy Ruskin's brush work is impeccable. Hamza's ability to put across the emotion of the lyrics suffuses "Until the Real Thing Comes Along" with tender longing. And his longtime friend and musical compatriot Sonny Kenner adds a bluesy touch to several numbers, most notably Hamza's swinging version of "Don't Get Around Much Anymore." There's also a fresh arrangement of "Just One of those Things," with Tyrone Clark's bass solo introduction and accompaniment to the first vocal chorus and Kim Park's hard swinging flute solo. This one is staying in the CD changer for a long time. Let's hear it for goose bumps. -- Bob McWilliams Bob McWilliams is the host of "Jazz In the Night" on KANU-FM. Kevin Mahogany The WDR Big Band PUSSY CAT DUES: THE MUSIC OF CHARLES MINGUS Enja Records ENJ-93162 Personnel: Kevin Mahogany, vocals; Charles McPherson, alto sax; Jimmy Knepper, trombone; Dennis Mackrel, drums; the WDR Big Band directed by Bill Dobbins Tracks: Eclipse; Pussy Cat Dues; Portrait; Reincarnation of a Love Bird; Mingus Medley (including Boogie Stop Shuffle, Jelly Roll, Goodbye Pork Pie Hat, Better Git Hit In Your Soul); Tonight At Noon Recorded live February 3, 1995 at Stadtgarten, Cologne, Germany; Reinhold Nickel, engineer. Since not many present day recordings delve into or take on the challenge of Charles Mingus, this tribute to a jazz master is long overdue. It's also an interesting five-year-old snapshot of singer Kevin Mahogany's many musical gifts well before fame and success took him from KC to the top of the polls. The CD's opening track, "Eclipse," is as provocative and mysterious as its ethereal title implies. Listen for Mahogany's attentive treatment of the song's lyrics along with Jimmy Knepper's haunting trombone. "Pussy Cat Dues" takes things in another direction. Bluesy, swingin' and scattin', this improvisational ride (shared by Mahogany, Knepper, bassist John Goldsby and Charles McPherson on alto sax) receives clean and articulate support from the ensemble. "Portrait" is a malleable piece shaped by smooth lines and shifting accents. Poetic lyrics by Mingus are set against a well-rehearsed and supportive cast with ample solo space for Rolf Romer on tenor. The vocal-less "Reincarnation Of A Love Bird" is an album highlight for Knepper and McPherson. Their unison trombone and alto sax figures lead a quintet arrangement that also features a lyrical piano solo by Frank Chastenier. A "Mingus Medley" begins with "Boogie Stop Shuffle," a powerful ensemble showcase with everyone jumping onboard. The transition to "Jelly Roll" that follows is almost unnoticeable thanks to Bill Dobbins' grade A arranging. Another world class arranger, Bill Holman, handles the next part of the medley. A familiar bass cadenza from Goldsby opens "Goodbye Pork Pie Hat" and leads to Mahogany's soulful interpretation of Rahsaan Roland Kirk's lyrics. Then a show-shopping version (by Dobbins) of "Better Git Hit In Your Soul" follows and documents some of Kevin Mahogany's finest recorded scatting to date. This tribute to Mingus and his magic is a gem. And it's also another example of why one of KC's latest jazz exports is on a roll. Thanks to Enja for bringing it out of the vault. -- J.P. Makus Ruth Rhoden RUTH TNT Productions Personnel: Ruth Rhoden, vocals, flugelhorn; Marshall DeMuyenck, tenor and alto saxophones; Dave Baker, trombone; Warren Bowman, piano; Carl Fusaro, bass; Terry Hughes, drums Tracks: Sugar; The Lady's In Love With You; You're Driving Me Crazy; Lover Man; Them There Eyes; I Can't Give You Anything But Love; She's Funny That Way; 'Deed I Do; I Remember You; I'm Confessin' Recorded live, July 1999, at the Westport Coffee House; Tom Ptacek, engineer. You've heard her introduce jazz talent for 18 years on KCUR's "Just Jazz." Now, Ruth Rhoden introduces her own talent with Ruth, her first recording. "It's my first album anywhere," said Ruth, who began her musical career in the 1940s singing for and touring with the Edgar Drake Big Band. She first sang many of these songs back then. "These are my favorite songs -- all of them. They are tunes I've done for years and years." Recorded live and unrehearsed at the Westport Coffee House, part of the album's charm is its spontaneity. "It was a surprise to me that we didn't have to rehearse," said Ruth. "It was just like in the old days. We were just hangin' out." This lends the album to a kind of heartfelt intimacy, an aspect that reveals itself on "Sugar," the CD's first track. Here, Rhoden's longtime love affair with jazz surfaces most distinctly. You can even hear her remark, "Sounds like the old days," during pianist Warren Bowman's solo. It is completely in keeping with the song's -- and the CD's -- reminiscent mood. Perhaps due to the live nature of this recording, the album also contains some obvious flaws. For instance, I've heard a listener or two question the decision to add Ruth on flugelhorn on the tune "I'll Remember You." Also, the piano is slightly out of tune. Still, this is a first chance to hear Ruth Rhoden on recording. For friends and fans of "Just Jazz," it should be a treat. To order this CD, call 913-262-9430, or write Tom Bisel at 5657 W. 50th Street, Mission, KS 66202. -- Kevin Rabas GRAND PIANOS Four KC Alums, Four Jazz Gems Talk about harmonic convergence. In the first months of a new century, four of KC's most accomplished keyboard exports have released four first rate CDs, each featuring excellent playing, writing and production.
Debut, Daugherty's appropriately titled first CD, features Chicago bandmates Shawn Sommer on bass (by way of Western Michigan University) and drummer Ryan Bennett (also a former KC resident, and student at UMKC), and it contains a diverse program of well-played, intelligent, symbiotic piano trio jazz. Originals by Daugherty ("Hold My Hand," "Proem" and "Rainbow in the Rearview Mirror") and Sommer ("First Fall" and "J.R.") blend well with the more familiar ("Takin' a Chance on Love," "Beautiful Love," "Infant Eyes." "Turnaround"), and throughout, soloing is strong, group empathy is keen, and the promise of three stellar careers in jazz is prominent. If you like your trio jazz more on the cerebral side, and with abundant spontaneity and creative intensity, Debut is recommended. For ordering information, call 773-368-3049. The Jo Ann Daugherty Trio may kick off its CD on a somewhat introspective note (Larry Young's "Tyrone"), but on Whirl Away, the latest J Curve release from pianist/composer Phil DeGreg (you may have caught him at the Blue Room in October), the leader and his quintet shoot out of the gates at full throttle with DeGreg's "In a Whirl." Like Daugherty, Phil DeGreg also paid some important early dues in KC. As a Kansas Citian in the late '70s, Phil was active in local jazz circles as both a student at UMKC (and of the legendary John Elliott) as well as a member of the house band at Crown Center's old Signboard Bar. Since those formative years, he has gone on to become both a passionate advocate of jazz education (he is currently Associate Professor of Jazz Studies at the University of Cincinnati College Conservatory of Music) and a highly regarded jazz soloist, recording artist and bandleader.
New Yorker Paul Hofmann is certainly no stranger to KC jazz. As a Kansas City resident from 1992 to '95, he maintained a high profile in area jazz circles, has since contributed several learned articles to this magazine, and continues to this day shuttling to and from his current home in Rochester to record at Ron Ubel's Soundtrek studio.
Dave Zoller is the old pro in this group of KC grads. The Dallas-based pianist/composer/arranger lived and gigged in Kansas City from 1965 to '69, studied at UMKC during that time, and kept everyone from the Warren Durrett Orchestra to the University of Missouri-Columbia jazz band well stocked in challenging charts. After returning to Dallas in '69, Dave went on to become one of the country's most respected session musicians as well as a world class accompanist and bandleader. He has also released numerous CDs as a leader on his own dpz Jazz record label.
For more information about this recording and others on the dpz label, write to P.O. Box 59659, Dallas, TX 75229. -- Mike Metheny ...And Two New Jewels from Marvin As many of you will recall, last April I had the honor of sharing the Kansas City Jazz Workshop stage with Marvin Stamm, one of the world's finest jazz trumpet players. Because of his many years as a studio musician, Marvin isn't the household name he should be, but as a soloist he ranks right up there with the many greats he has worked with over the last four decades. And, of course, jazz musicians from coast to coast know of Marvin's elite standing as a recording artist of the highest rank. Marvin has recently released two new CDs on his own Marstam label, By Ourselves (duos with the brilliant pianist Bill Mays) and The Stamm/Soph Project (with the all-star lineup of Stamm, Mays, drummer Ed Soph, bassist Rufus Reid and guest/saxophonist Dave Liebman). The set lists on each are mostly straightahead, yet with adventuresome solos, solid arrangements and world class musicianship through and through. And with Marvin sounding better than ever. I try to avoid using this forum to promote a friend's stuff, but this time an exception seems in order. Both of these recordings are five star efforts and will bring many hours of stimulating listening to the serious jazz collector. CDs are $15 each; shipping and handling $3 for up to two, $4 for three, and so on. To order by credit card, go to the web site at: sonatabop.com. To order by check or money order, send to: Marvin Stamm, 130 Titicus Road, North Salem, NY 10560. -- MM RETURN TO DECEMBER/JANUARY 2001 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved. |
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