Friday, August 2, 2019

Alex Sipiagin, Dave Kikoski - Bonnie and Clyde

Styles: Trumpet And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 61:20
Size: 141,6 MB
Art: Front

(6:38)  1. Kourke and Spock
(5:40)  2. Henson and Oz
(5:02)  3. Porgy and Bess
(6:34)  4. Arwen and Aragorn
(6:38)  5. Bonnie and Clyde
(6:28)  6. Antony and Cleopatra
(7:46)  7. Samneric
(6:28)  8. Fred and Ginger
(3:42)  9. Rosencrantz and Guildenstern
(6:24) 10. Holmes and Watson

Bonnie And Clyde, a set of original music inspired by ten unique pairs of characters, is the latest accomplishment in the very productive and creative career of arranger-composer-trumpeter Dave Lisik. A Canadian who taught high school in Winnipeg, Canada and college in Memphis, Tennessee, Lisik has been a resident of Wellington, New Zealand since 2010 where he teaches at the New Zealand School of Music and has been a very active part of the jazz and creative music scene. While Lisik has written for many larger ensembles, symphony orchestras and his own quintet in his career (with over 450 compositions), Bonnie and Clyde features the duo of trumpeter Alex Sipiagin and pianist Dave Kikoski interpreting his music. Sipiagin, along with Bob Sheppard, had been the principal soloist on Lisik’s 2011 jazz orchestra record Walkabout  A Place For Visions. In 2014, Lisik’s quintet recording Machaut Man and a Superman Hat featured Sipiagin and tenor-saxophonist Donny McCaslin along with the rhythm section of the Mingus Big Band which included Dave Kikoski. “Alex and Dave are both incredible players, technical masters and artists on a really high level,” says Dave Lisik. “As a trumpet player I have a particular appreciation for Alex's ability on the instrument but his inventiveness really stands out for me, even when compared to some of the other top trumpeters playing today. Music just flows out of both of these guys. Alex was in New Zealand for the national jazz workshops in January 2016 and he was already planning some duo gigs with Dave Kikoski. Rather than just writing random tunes for them, it seemed more interesting, given the two-player format, to create a collection of new tunes based on famous pairs from history.”  The adventurous music on Bonnie and Clyde was a challenge for the two players but they quickly came up with fresh and inventive ideas that perfectly fit the pieces. “A few of the tunes start with chord progressions like standards, others are more modern harmonically, and a few are based on ostinatos with melodies and no harmonic progression. It is easy to worry about there not being enough variety with only two instruments but then, as always happens with players at this level, they took the music to places that I had not imagined. The improvisations and interplay are so interesting that it is fun for me to hear what they did with my pieces.” Bonnie and Clyde begins with “Kourke ‘N Spock,” named after Captain James T. Kirk and Mr. Spock from Star Trek. “The odd spelling of Kourke is a nod to the way that Alex, with his Russian accent, pronounces Kirk. It’s identical to how the Russian Star Trek character Pavel Chekov said it, which I found humorous.” The wide intervals played by Sipiagin somehow sounds effortless and relaxed, giving this piece a futuristic feel. “Samneric,” the twin boys Sam and Eric from Lord Of The Flies who were so close that they melded into one character. This dramatic performance has Alex Sipiagin and Dave Kikoski engaging in dramatic interplay as they play off of each other’s ideas throughout the piece. “Antony and Cleopatra,” historic figures who were immortalized by Shakespeare, are musically portrayed by Sipiagin (who hints at the melancholy of Miles Davis on this piece even during his faster runs) and Kikoski, who takes an extended solo filled with twists and turns.

“Porgy and Bess,” the lead characters in George Gershwin’s famed folk opera, are saluted in a thoughtful piece that is a bit nostalgic. "Henson and Oz” celebrates the creative partnership of Jim Henson and Frank Oz who together created Kermit the Frog and Miss Piggy and Ernie and Bert. This high energy romp has Sipiagin and Kikoski engaging in playful moments and fiery stretches that jump around with the energy of a children’s television show. About this track Lisik says, “Jim Henson and Frank Oz were one of the most important modern comedy duos. Henson passed unexpectedly in 1990 and Frank Oz eulogizing Jim Henson at his memorial service is one of the most touching moments I’ve seen and a wonderful tribute to the relationship between these two men. “Bonnie and Clyde” is for the Depression era criminals Bonnie Parker and Clyde Barrow who were depicted in a colorful movie of the same name. Lisik’s music is worthy of a memorable chase scene. “Arwen and Aragorn” is dedicated to two characters from the Lord Of The Rings, a saga that is particularly popular in New Zealand where the films were shot. The particularly lovely chord progression of this romantic jazz waltz is borrowed from “Fairy Tale” by Bob Washut, Lisik’s former teacher at the University of Northern Iowa. The cat and mouse interplay throughout “Holmes and Watson” is perfect for a tribute to Sherlock Holmes and Dr. Watson. The whimsical yet mysterious piece conjures up the image of a Sherlock Holmes tale. “Rosencrantz and Guildenstern” are Shakespearean characters from Hamlet. On this performance and briefly elsewhere, Dave Kikoski is heard on Fender Rhodes, sometimes playing electric and acoustic pianos together with one hand on each. The unisons and general theme on this original are quirky, witty and difficult to predict. Bonnie and Clyde concludes with “Fred And Ginger,” a warm ballad dedicated to Fred Astaire and Ginger Rogers. Too much praise cannot be given to the two musicians who interact spontaneously throughout the ten pieces with the same confidence and relaxed creativity that they would have displayed if they had been stretching out on much more familiar standards. Dave Lisik became involved in music early in his life. After playing organ for five years, he switched to trumpet in sixth grade, performing regularly in his school bands. “Both of my junior high and high school band directors were trumpet players so I'm sure that helped me.” Lisik developed quickly and, while still in high school, he performed for two years in the big band at the University of Manitoba. 

Always interested in writing, he experimented with electroacoustic music while in high school and mostly wrote classical music while in college, but gained experience writing jazz before and during his doctoral study at the University of Memphis. “I wrote for the guest artists who came to the school including Marvin Stamm, Bill Mays, Luis Bonilla, Paul Hanson, Carl Allen, and Kirk Whalum. Once my dissertation was finished, Luis was particularly encouraging and helpful in getting players to record my first big band CD.” Among those jazz composers and arrangers whose music inspired him early on were Bob Brookmeyer, Jim McNeely, Maria Schneider and Thad Jones. In addition to teaching at the New Zealand School of Music in Wellington, Lisik co-directs the New Zealand Youth Jazz Orchestra, founded and produces the NZSM Jazz Festival, and is a trustee of the New Zealand Jazz Foundation. During the past year he has co-written with Eric Allen the book 50 Years at the Village Vanguard: Thad Jones, Mel Lewis and the Vanguard Jazz Orchestra. He has also recorded many inventive CDs of his music with several new projects scheduled to be coming out in the near future. For the future, Dave Lisik says, “I hope to keep writing music for inspiring performers, both in classical music and jazz. I want there always to be some urgency to evolve and keep getting better rather than having my projects be too similar.” Bonnie and Clyde, which is unlike any of Dave Lisik’s previous recordings, succeeds at being fresh, new and full of inventive music. ~ Scott Yanow, jazz author/historian and author of 11 books including Trumpet Kings and Jazz On Record 1917-76 https://store.cdbaby.com/cd/alexsipiagin13

Personnel:  Alex Sipiagin - trumpet; Dave Kikoski - piano

Bonnie and Clyde

Ben Webster, Don Byas - Ben Webster Meets Don Byas

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 36:55
Size: 85,0 MB
Art: Front

(7:04)  1. Blues for Dottie Mae
(5:46)  2. Lullaby to Dottie Mae
(6:08)  3. Sunday
(5:47)  4. Perdido
(3:00)  5. When Ash Meets Henry
(9:07)  6. Caravan

This early-'70s meeting between two giants of the tenor sax (both of whom by this time were living in Europe on a permanent basis) is full of memorable moments. The styles of Ben Webster and Don Byas provide a distinct contrast (though Byas was also a swing-influenced saxophonist, he was heavily into bop as well), yet they mesh very well together. On their opening improvised "Blues for Dottie Mae," Webster's big toned swing tends to dominate, though Byas' boppish lines dart around at lightning speeds; Tete Montoliu's bluesy piano provides the perfect support. The roles are evened out a bit more on a swinging take of "Sunday." The evenly matched tenor battle continues with a rousing "Perdido" and very swinging "Caravan." Bassist Peter Trunk introduces Byas' "Lullaby to Dottie Mae," an easygoing reworking of the timeless ballad "Body and Soul," which features a rapid-fire solo by Byas. Webster's turn in the solo spotlight is his own ballad "When Ash Meets Henry," in which he is accompanied only by Trunk's well chosen basslines. Also present on the date is drummer Albert "Tootie" Heath. Sadly, this LP was a bit of a swan song for both tenor saxophonists; Byas died in the year prior to its 1973 release, while Webster died the following year, though he taped at least one more album following this one. ~ Ken Dryden https://www.allmusic.com/album/ben-meets-don-byas-mw0000188808

Personnel:  Tenor Saxophone – Ben Webster, Don Byas; Bass – Peter Trunk; Drums – Albert Heath; Piano – Tete Montoliu

Ben Webster Meets Don Byas

Herb Geller - Heart to Love

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 79:04
Size: 183,0 MB
Art: Front

(5:17)  1. Blues in the Night
(3:07)  2. You'd Be so Nice to Come Home To
(5:28)  3. Crazy She Calls Me
(3:16)  4. I've Got a Feeling I'm Falling
(3:43)  5. Gin for Fuguehorns
(5:00)  6. Rockin' Chair
(5:18)  7. Heather on the Hill
(3:05)  8. If I Were a Bell
(4:25)  9. Owl Eyes
(4:59) 10. Come Rain or Come Shine
(4:34) 11. Tardy at Zardi's
(4:25) 12. Outpost Incident
(4:55) 13. Bewitched, Bothered and Bewildered
(3:49) 14. The Answer Man
(4:01) 15. Araphoe
(5:08) 16. Supper Time
(5:33) 17. Vone Mae
(2:53) 18. Two of a Kind

Herb Geller was a veteran of the Los Angeles jazz scene of the 1950s who played better than ever by the turn of the millennium. Geller played in 1946 with Joe Venuti's Orchestra, and in 1949 he traveled to New York to play with Claude Thornhill. In 1951 he moved back to L.A. and married the excellent bop pianist Lorraine Walsh. Geller was a fixture in L.A., playing with Billy May (1952), Maynard Ferguson, Shorty Rogers, Bill Holman, and Chet Baker, among others; jamming with Clifford Brown and Max Roach (1954); and leading a quartet that included his wife (1954-1955). Lorraine Geller's sudden death in 1958 eventually resulted in the altoist deciding to leave the country to escape his grief. He played with Benny Goodman off and on between 1958-1961, spent time in Brazil, and in 1962 moved to Berlin. Geller worked in German radio orchestras for 30 years, played in European big bands, and continued to grow as a musician, although he was pretty much forgotten in the U.S. From the early '90s into the 2000s, Herb Geller returned to the States on a more regular basis, and he recorded tributes to Al Cohn and Arthur Schwartz for Hep. Geller also recorded as a leader in the 1950s for EmArcy, Jubilee, and Atco, and in his later years for Enja, Fresh Sound, and VSOP. Herb Geller died in Hamburg, Germany on December 19, 2013; he was 85 years old. ~ Scott Yanow https://www.allmusic.com/artist/herb-geller-mn0000677067/biography

Heart to Love

Steve Davis - Correlations

Styles: Trombone Jazz
Year: 2019
File: MP3@320K/s
Time: 74:00
Size: 171,0 MB
Art: Front

(5:57)  1. Embarcadero
(8:53)  2. Subtlety
(5:59)  3. Batista's Revenge
(7:05)  4. Song for My Love
(5:27)  5. Newbie
(7:16)  6. Peace
(6:21)  7. Can't Complain
(7:01)  8. Think on Me
(5:39)  9. Blues for Owen
(6:18) 10. A Child Is Born
(8:01) 11. Inner Glimpse

Exploration and innovation may be the aspiration of modern jazz, but trombonist Steve Davis' Correlations exemplifies the fact that nothing proves more compelling than the timeless art of gathering a group of musicians who work remarkably well together. A veteran of The Jazz Messengers, One for All, and The Jazztet, Davis has a wealth of experience sharing the stage with multiple horns, essential to this album's sextet. His "get out of the way and let it happen" approach to band leadership pays off well with saxophonist Wayne Escoffery and trumpeter/flugelhornist Joshua Bruneau, who are backed by a rhythm section comprised of pianist Xavier Davis (no relation), bassist Dezron Douglas, and drummer Jonathan Barber. A little over half the songs on Correlations are originals by Davis. "Subtlety" is a fairly long, meandering piece in which he stretches out to allow time for each horn player to solo, in addition to Xavier Davis who closes out the tune before the final melody is repeated. The group seems to be having genuine fun on the rollicking "Bautista's Revenge," which features a guest appearance by percussionist Cyro Baptista. The album is balanced out by just three ballads, which is expected considering the band's large horn section. Davis dedicated "Song For My Love" to his wife, which features a lush, warm melody echoed by the trombonist throughout the upbeat tune. 

The second is Horace Silver's much-loved "Peace," which slows to a crawl, and has Barber taking up the brush and cymbals for most of its seven minutes. "A Child Is Born" is positioned as the album's penultimate song. While it doesn't allow the attention to wander too long, the band doesn't do anything particularly memorable with Thad Jones' cherished classic. George Cables' "Think On Me" is given a well-deserved treatment here. Originally recorded for his 1975 debut "Why Not," it's interesting to hear a large band play one of his classics besides jazz supergroup The Cookers, for whom he plays piano. The addition of horns does the song justice, while the only downside is the loss of Carl Burnette's deft and dextrous drum work on the original, which had to be cleaned out to make room for all three to solo.  It would have been a pleasure to hear more of Dezron Douglas who, possessing a deep, rich sound, is one of the most affecting and underrated bassists in the New York jazz scene, but in a group this size he is largely relegated to a backing role. That role shouldn't be underestimated however; with good speakers his clever plucking can be heard adding depth to every song on the album. If there's a flaw to be found on Correlations, it's that with so much talent in the studio Steve Davis seems to want to make time for everybody. Unfortunately, this approach does seem to limit the adventurousness they can offer, condensing their solo opportunities into narrower window. There's a smile inducing charm that groups like this have when everything seems to be going right. Correlations' freshly minted sextet is one of the best that jazz has to offer. In a time when many musicians are attempting to relocate the genre's boundaries away from its swinging ancestry, Davis is content to assemble a top-tier band to masterfully realize that guiding principle. ~ Peter Hoetjes https://www.allaboutjazz.com/php/member.php?id=189854

Personnel: Steve Davis: trombone; Joshua Bruneau: Trumpet, Flugelhorn; Wayne Escoffery: saxophone; Xavier Davis: piano; Dezron Douglas: bass; Jonathan Barber: drums.

Correlations