George Kahn - ...Compared To What

Styles: Straight-ahead/Mainstream
Year: 2004
File: MP3@320K/s
Time: 62:55
Size: 144,5 MB
Art: Front

(8:23)  1. On Green Dolphin Street
(4:56)  2. Mercedes the Lady
(5:26)  3. Compared to What
(7:06)  4. 5 to Get Ready 10 to Go
(6:41)  5. Too Much Sax
(6:04)  6. Woodstock
(5:15)  7. Soul Sause
(5:58)  8. Gnomesayin'
(7:14)  9. Alice in Wonderland
(5:48) 10. The Hero's Journey

This crisp, well-crafted, straight-ahead (mostly) set opens auspiciously, with tenor saxophonist Justo Almario wandering into the studio blowing solo, wailing, strolling around seemingly aimlessly; but you can feel there's a method to his melodic madness. About a minute later the bass throbs in behind him with repeated two note statements, followed by the drums, and finally the leader, George Kahn, appears, and the tune gels into the familiar "On Green Dolphin Street," in a finely focused up-tempo mode.

Kahn says playing a solo in front of this band—tenor and trumpet in front of a rhythm section, mostly is like driving a well-tuned Ferrari, and that's a pretty apt comparison for this sound: clean, synchronized, and lightly lubricated for an effortless forward momentum provided by the drive train/rhythm section.

"Mercedes the Lady" introduces Latin sounds. Kahn is adept in an array of styles here. "Compared to What" proves itself a funkier, harder-driving version of the Les McCann/Eddie Harris hit from '68, featuring vocalist Courtney Lemmon, whose soulful take on the lyrics show them to be as relevant in these turbulent times as they were in the late sixties. "5 to Get Ready 10 to Go" has a Kind of Blue -ish feel, with some marvelous mute work by trumpeter John Fumo.

Saxophonist Eric Marienthal sits in on two tunes. His tone, sharp and stinging, always brings a modern edge to the sound. I've loved his playing ever since I first heard it in Chick Corea's Elektric Band's Inside Out (GRP, '90); and he doesn't disappoint here. He just cooks, with a clean, high heat on "Too Much Sax," adding some fire to the title tune as well.

An excellent set, with different styles deftly mixed and held together by the stellar rhythm team behind a bunch of spirited blowing. The title tune alone is worth the price of admission, but then so are all the others. Kahn, piano; Alex Acuna, drums and percussion; and Brian Bromberg, bass: they've got to put out a trio set sometime. ~ Dan Mcclenaghan   

http://www.allaboutjazz.com/php/article.php?id=15777#.Ur9FAbTJI0g

Personnel: George Kahn, piano; Alex Acuna, drums and percussion; Justo Almario,tenor and soprano saxophones; Brian Bromberg, bass; John Fumo, trumpet, flugelhorn; with guests Eric Marienthal, tenor and alto saxophones; Courtney Lemmon, vocal on "Compared to What";  Ira Ingler, guitar

...Compared To What

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Quentin Angus - Perception

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 48:21
Size: 111,3 MB
Art: Front

(5:37) 1. Particular,Peculiar
(6:22) 2. Perception
(5:28) 3. Nardis
(7:16) 4. Red and Yellow
(4:26) 5. Chernobyl
(5:17) 6. Restoration
(7:09) 7. Den Haag
(6:42) 8. Bounce

Australia boasts an embarrassment of great jazz musicians, an increasing number of whom have made their way to New York in recent years to broaden their horizons. Guitarist Quentin Angus is one such notable Aussie talent. Here Angus follows up his promising debut, Retrieval Structure (Self Produced, 2011) with another assured work that highlights his tasteful virtuosity and growing strengths as a composer. Angus effectively fronts two quartets, with drummer Kenneth Salters the anchor throughout. Stylistically, the music shares a similar contemporary straight-ahead vibe as Angus' debut, though the employment of a string quintet marks a significant progression in songwriting terms. Angus and alto saxophonist Will Vinson form an exciting front-line, weaving tight unison lines on "Particular, Peculiar" before the guitarist breaks formation for a solo flight that scores moderately for acrobatics but high marks for artistic grace. Angus is a melodic musician, both with pen and when soloing, and there's more than a hint of the Pat Metheny Unity Band's influence in his approach to composition.

"Perception" follows a similar pattern to "Particular, Peculiar," though shifts back and forth between soft and more pronounced rhythmic passages. Shai Maestro's piano paves the way for a somber guitar and saxophone motif, with bassist Linda May Han Oh another Aussie who's blossomed in New York and Salters lending shadowy support. A dynamic piano riff and Salter's dry and snappy Bill Bruford-esque touch inject some voltage into the piece, with piano, saxophone bass and guitar unified on the striking melody. Oh executes a grooving solo, which leads the quintet back to the melody and a stirring conclusion. The sole cover is trumpeter Miles Davis's "Nardis," a tune Davis never recorded but which was a staple of pianist Bill Evans's concerts for many years. Pianist Matthew Sheens-another New York-based Aussie exile and bassist Or Bareket follow Angus between, dark, rock-oriented syncopation and more lyrical passages. Angus stretches out, sculpting a wonderfully fluid solo that mixes and matches sustained notes and confidently structured, chattering phrases. Vocalist Jo Lawry's wordless vocal forms the centerpiece of a union with Angus and Vinson on the elegant "Red and Yellow," with attractive, laid back soloing from the latter duo and Maestro.

Sheen's beautiful composition "Chernobyl" stems from piano and Chad Lefkowitz-Brown's soprano saxophone intro, and features extended, articulate solos from Angus and Lefkowitz-Brown; in between, layers of dual violins, viola, cello and additional bass bob in and out of the narrative to striking affect. The string quintet enjoys greater protagonism on the bright, optimistic "Den Haag," setting the tone before Angus carves out a measured, commanding run. Sheen likewise impresses, supported and coaxed by the effervescent Salters. Rumbling mallets, alto sax and piano introduce "Restoration," a lithe tune that moves quickly through the gears. Vinson takes the bragging rights in the solos department but it's the thrilling all-hands-on-deck finale, with its punchy motif and spiky tempo that wins the day surely a barnstorming live number. The equally dynamic "Bounce" features further hugely satisfying solos from Angus and Vinson, over a crisp, driving rhythm. Angus' compositions boast the sophistication and nous of a veteran yet sizzle with youthful vitality. There's not a weak track on the collection, and fine playing all round, not least from Angus himself. Clearly a name to watch out for.~Ian Patterson https://www.allaboutjazz.com/perception-quentin-angus-self-produced-review-by-ian-patterson.php

Personnel: Quentin Angus: guitar; Jo Lawry: voice (4); Will vinson: alto saxophone (1, 2, 4, 6, 8); Chad Lefkowitz-Brown: soprano saxophone (5);Shai Maestro: piano (1, 2,4, 6, 8); Matthew Sheens: piano (3, 5, 7); Linda Oh: bass (1, 2, 4, 6, 8); Or Bareket: bass (3, 5, 7); Kenneth Salters: drums; Yanni Burton: bass (5, 7); Sarah Koenig- Plonskier: violin (5, 7); Lavina Pavlish: violin (5, 7); Jack Stulz: viola (5, 7); Leana Rutt: cello (5, 7).

Perception

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