Polly Gibbons - Is It Me?

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 59:57
Size: 137,9 MB
Art: Front

(5:47)  1. Ability To Swing
(4:06)  2. You Can't Just...
(5:24)  3. Sack Full Of Dreams
(4:15)  4. Wrap Your Troubles In Dreams
(5:58)  5. Wild Is The Wind
(5:46)  6. Basin St. Blues
(3:45)  7. Midnight Prayer
(4:57)  8. Is It Me...?
(5:41)  9. Pure Imgination
(5:09) 10. Dr. Feelgood
(4:38) 11. I Let A Song Go Out Of My Heart
(4:27) 12. Don't Be On The Outside (Bonus Track)

With half a dozen albums to her name, British vocalist Polly Gibbons has no need to prove her worth but that hasn't inhibited her from pulling out all the stops on her second album for Resonance following on from 2014's My Own Company. Thomas Dolby's "Ability To Swing" proves just that, courtesy of a first class powerhouse of an American horn section (the album was recorded in the States where Gibbons plays gigs with increasing frequency, such is her in-demand status). The brass also acts as a sonic turbo-charged engine on the funky "You Can't Just...," one of three songs penned by Gibbons and her pianist/arranger and fellow Brit, James Pearson. The pair also co-wrote the wistfully lyrical title track. "Basin Street Blues" is given an up-tempo makeover but there are sultry soul-infused numbers such as "Midnight Prayer" (another Gibbons/Pearson original) and Gary McFarland's "Sack Full Of Dreams." There are also quartet backed numbers like "Wrap Your Troubles In Dreams" and the ruminative ballad "Wild Is The Wind." 

The uncompromising soul/blues outing "Dr Feelgood" with the horn section in attendance contrasts with standards like Duke Ellington's "I Let A Song Go Out Of My Heart" which is afforded a straight-ahead treatment elevated by a touch of accelerando mid-way through. The final track, "Don't Be On The Outside" is denoted as a bonus track since it's the only live track on the album, setting it apart from the preceding 11 numbers. In 2016, Gibbons supported George Benson and Gladys Knight on their sell-out tours including two nights at London's Royal Albert Hall. Those prestigious concerts were just another sign that her star is rising. Possessed of a powerfully soulful voice, she is undoubtedly maturing into one of Britain's finest singing talents and this album, replete with stellar arrangements, is another testament to that fact. ~ Roger Farber https://www.allaboutjazz.com/is-it-me-polly-gibbons-resonance-records-review-by-roger-farbey.php

Personnel: Polly Gibbons: vocals; Tamir Hendelman: piano; James Pearson: piano; Shedrick Mitchell: Hammond Organ; Graham Dechter: guitar; Kevin Axt: bass; Ray Brinker: drums; Willie Murillo: trumpet; Vinny Dawson: trumpet; Bob McChesney: trombone; Andy Martin: trombone; Bob Sheppard: alto saxophone, tenor saxophone, clarinet, flute; Brian Scanlon: alto saxophone, tenor saxophone, flute; Keith Bishop: alto saxophone, tenor saxophone, clarinet, flute; Tom Peterson: baritone saxophone, tenor saxophone.

Is It Me?

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Nicola Sabato - California Hang

Styles: Hard Bop
Year: 2023
File: MP3@320K/s
Time: 59:29
Size: 137,2 MB
Art: Front

(6:18) 1. These Are Soulful Days
(6:23) 2. The Masquerade Is Over
(4:44) 3. Brigas Nunca Mais
(5:30) 4. Bad Motor Scooter Blues
(5:56) 5. Jingles
(7:41) 6. I Guess I'll Hang My Tears Out To Dry
(4:46) 7. Happy Go Lukey
(7:00) 8. Buhaina Buhaina
(3:53) 9. L.a. Bounce
(7:14) 10. Everything Happens To Me

With the creative passion that characterizes him, Nicola Sabato has transformed the California sun into a pure groove extract. The ingredients are simple: just go on site to dialogue with the most highly rated musicians of the jazz world and its surroundings (they have played with Diana Krall, Roy Hargrove, Nancy Wilson, John Pizzarelli, Kurt Elling, Barbra Streisand , Gladys Knight…). An inspired guitarist, a virtuoso pianist and a boosted drummer, each at the height of his personal expression this could only give a jazz cocktail of rare intensity!

Such a meeting of high-flying musicians, united by an uncompromising musical project, reminds us of what an artistic enterprise based on passion and culture is. Evocation of Wes Montgomery and Art Blakey, shuffles, samba, blues… the musical vitality of this album is worth the detour! A jazz that speaks to everyone, with the intensity of sincere projects.Translate By Google
By Jean Szlamowicz https://www.nicolasabatojazz.com/news-1

Personnel: Nicola Sabato : bass/arr.; Graham Dechter : guitar; Tamir Hendelman : piano; Jeff Hamilton: drums

California Hang

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Akiko Tsuruga - Equal Time

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 46:59
Size: 108,4 MB
Art: Front

(5:57)  1. Mag's Groove
(5:09)  2. Orange Coals
(5:32)  3. Osaka Samba
(6:42)  4. A Baptist Beat
(5:08)  5. Moment's Notice
(6:25)  6. Lion's Gate
(4:59)  7. I Remember You
(7:03)  8. This Could Be The Start Of Something Big

These three are all leaders of their own bands in different places. Here they combine to form what used to be called a super group. The music is all in the blues and bop domain, with easy swing, crisp, inventive solos and a solid rhythmic pulse throughout. Ms Tsuruga and guitarist Dechter play in solo mode and quickly revert to rhythmic duties when their own solos end. Hamilton is the only one whose duties are solely to provide a solid beat on every track and this he does handsomely. His own solos are well structured with attention to the contours of each piece of music. The three kick off with a solid blues, Mag’s Groove, that gives all three players a chance to shine. Orange Coals is a faster blues written by Dechter. He takes the first extended solo with the other two in full flow behind him. Akiko provides stimulating Hammond organ solos and also manages to keep a solid bass line going at all times, whether she is in the spotlight or not. The Osaka Samba is an attractive line from the organist, a sort of Japan embraces the samba but it all sounds very Latin and has a cracking beat. Still on the blues and gospel trail the trio next tackle A Baptist Beat, Hank Mobley’s funky line. Taken at much the same tempo that Hank used in the 60s, the piece is very downhome. Dechter manages an original solo spot here; this is very much his own take on the material. Akiko digs in too and there is much of the American bop and blues flavour in her solo and virtually nothing Oriental. There is a personal approach to Coltrane’s Moment’s Notice although the trio keep very much to the spirit of the composition in their straightahead, uptempo reading. Lion’s Gate is a gentle ballad by Akiko with singing guitar and organ and drums offering flowing rhythm. The set finishes with two hardy standards. Hamilton kicks off I Remember You with crisp brushwork and keeps it moving throughout in the same manner. Fine, well thought out solos from Dechter and Tsurugo follow on. Finally we have This Could Be The Start Of Something Big and who knows, maybe it can at that. ~ Derek Ansell https://jazzjournal.co.uk/2019/08/11/akiko-hamilton-dechter-equal-time/

Personnel: Akiko Tsuruga -organ; Jeff Hamilton - drums; Graham Dechter - guitar

Equal Time

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Akiko Tsuruga - So Cute, So Bad

Styles: Jazz, Hard Bop
Year: 2017
File: MP3@320K/s
Time: 57:38
Size: 132,4 MB
Art: Front

( 6:51)  1. So Cute, So Bad
( 5:28)  2. The Lady Is a Tramp
( 6:32)  3. Face to Face
(10:02)  4. Frame for the Blues
( 7:41)  5. You Don't Know What Love Is
( 7:36)  6. Peachie
( 6:27)  7. Tanabata
( 6:57)  8. Pretty Please

“Akiko's playing is like watching a flower blooming, a bird spreading her wings in the music world. Akiko is here to stay.” ~ Legendary organist Dr. Lonnie Smith

Hammond B3 organist Akiko Tsuruga has been a regular on the New York jazz scene since her arrival in 2001. Almost immediately, she began working with artists like Jimmy Cobb, Frank Hess, and Lou Donaldson, whose quartet she joined in 2007. As a bandleader, she has toured internationally and released several acclaimed albums, garnering extensive radio play and “rising star” designations in DownBeat reader’s polls. Tonight, she celebrates the release of her latest album, featuring Graham Dechter and Jeff Hamilton. Dechter is an up-and-coming musician, making a name for himself as a straight-ahead jazz guitarist, and Hamilton is a veteran drummer and bandleader who will soon be headlining Dizzy’s Club Coca-Cola again for a two-night run. Check them out at the club before Tsuruga’s new album takes over the airwaves. http://www.jazz.org/dizzys/events/182104/akiko-tsuruga-trio/

Personnel:  Akiko Tsurunga-hammond B3;  Jeff Hamilton-drums;  Graham Dechter -guitar.

So Cute, So Bad

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Charito - American Gold Standards: Charito Meets Tamir Hendelman

Styles: Vocal Jazz
Year: 2016
File: MP3@320K/s
Time: 68:39
Size: 158,0 MB
Art: Front

(3:21)  1. I've Got the World on a String
(4:16)  2. Dearly Beloved
(6:42)  3. Guess I'll Hang My Tears Out to Dry
(4:46)  4. Blue Skies
(5:33)  5. I Get a Kick Out of You
(5:25)  6. Do It Again
(5:02)  7. Cheek to Cheek
(5:59)  8. Blues in the Night
(5:23)  9. It's Magic
(4:14) 10. A Fine Romance
(6:18) 11. Dreamer
(5:36) 12. The Man I Love
(5:58) 13. Ev'ry Time We Say Goodbye

Excited to share the upcoming Japanese release of vocalist Charito’s American Gold Standards: Charito meets Tamir Hendelman. I first met Manila-born, Tokyo-based jazz vocalist Charito in Japan when she sat in with the Clayton-Hamilton Jazz Orchestra. Her soulful spark, the way she sings from the heart- stayed with me.  Years later, we finally got to collaborate and it was truly a joyous occasion. Charito has recorded with Ivan Lins, Michel Legrand and Harvey Mason on some special projects.  This was a chance to pay tribute to the Great American Songbook. It was all about breathing new life to this classic songs by Irving Berlin,Gershwin, Cole Porter, Jobim and more. We hope you enjoy the music…

Personnel:  Charito (Vocals); Tamir Hendelman (Piano); John Clayton (Bass); Jeff Hamilton (Drums); Lori Bell (Flute); Gilbert Castellanos (Trumpet); Graham Dechter (Guitar).

American Gold Standards: Charito Meets Tamir Hendelman

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Clayton-Hamilton Jazz Orchestra - L.A. Treasures Project

Styles: Jazz, Big Band
Year: 2014
File: MP3@320K/s
Time: 63:29
Size: 145,9 MB
Art: Front

(3:21)  1. I Love Being Here with You
(3:56)  2. Exactly Like You
(5:02)  3. The Jug and I
(6:40)  4. Hat's Dance
(5:19)  5. I'm Getting Sentimental Over You
(3:47)  6. Got To Get Back To L.A.
(6:18)  7. Goodbye Porkpie Hat
(4:25)  8. River's Invitation
(3:19)  9. Beautiful Friendship
(7:14) 10. I Ain't Got Nothin' But the Blues
(4:53) 11. Time After Time
(4:36) 12. Fever
(4:34) 13. Jazz Party

For nearly thirty-years now the Grammy-nominated Clayton-Hamilton Jazz Orchestra (CHJO) has been easily recognizable as one of the best big bands in the business. Led by bassist John Clayton, saxophonist and brother Jeff Clayton and drummer Jeff Hamilton, the group embarked on a mission to document their various rehearsals with West Coast vocal legends Ernie Andrews and Barbara Morrison, and do so with The L.A. Treasures Project recorded live in the famous Showroom of Alva's Dance Studio and Music Store in San Pedro, California.  Presenting a mixture of instrumentals and vocal numbers, the opening "I Love Being Here With You" seemed an appropriate start and message for the intimate crowd in the Showroom and features excellent solos from each member of the trombone section. Having 20 recordings to her credit, Morrison steps up to lay down a soulful rendition of the Dorothy Fields classic "Exactly Like You" with a little solo help from Lee Callet on the baritone saxophone. The crisp vocals of local legend Andrews takes over the music with a bluesy and sprite interpretation of the Percy Mayfield standard "The Jug and I," superbly aided by the big band orchestrations of the CHJO.

Co-leader Hamilton and pianist Tamir Hendelman take center stage on their composition "Hat's Dance" with the duo playing the lead as the band grooves gently behind them in fine support for one of the tender moments of the disc. The Clayton brothers take their turn in the spot light on the Charles Mingus piece "Goodbye Porkpie Hat" as Jeff Clayton's bluesy alto flute begins the journey that eventually leads to brother John's bowed bass play in unison with Christoph Luty's own bass performance. The two singers get back to form with Andrews getting sentimental on the standard "I'm Getting Sentimental Over You," while the swinging Gospel vocalist Morrison belts the lyrics to "Got To Get Back To L.A.," one of her own compositions telling the world how she feels about the City. Morrison delivers the lyrics on "River's Invitation" and the classic "Fever" as the veteran Andrews does the same on "Beautiful Friendship" and the Sammy Cahn favorite "Time After Time" completing their vocal contribution to this historic night but, the CHJO was not finished. The ensemble plays a powerful opening statement on "I Ain't Got Nothin' But The Blues" only to turn it over to the electric guitar of Graham Dechter as he picks his way all through this terrific blues. In fitting form the CHJO ends the evening with "Jazz Party" elevating the excitement level with salvos fired by saxophonists Rickey Woodard and Charles Owens accompanied by one final pounding drum solo by Hamilton. 

It's obvious that The L.A. Treasures Project refers to singers Andrews and Morrison but, not to be overlooked, is the CHJO, an unquestioned treasure that this time delivers a meaty program of standards and mainstream jazz with a vocal twist perfect as a precursor to the group's thirtieth anniversary in 2015. ~ Edward Blanco http://www.allaboutjazz.com/the-la-treasures-project-the-clayton-hamilton-jazz-orchestra-capri-records-ltd-review-by-edward-blanco.php

Personnel: John Clayton: arco bass, Jeff Clayton: alto saxophone; Jeff Hamilton: drums; Bijon Watson: trumpet; Gilbert Castellanos: trumpet; James Ford: trumpet; Brian Swartz: trumpet; Jamie Hovorka: trumpet; Ira Nepus: trombone; George Bohanon: trombone; Ryan Porter: trombone; Maurice Spears: trombone; Keith Fiddmont: alto saxophone; Ricky Woodard: tenor saxophone; Charles Owens: tenor saxophone; Lee Callet: baritone saxophone; Tamir Hendelman: piano; Christopher Luty: bass; Graham Dechter: electric guitar; Ernie Andrews: vocals; Barbara Morrison: vocals.

L.A. Treasures Project

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Jackie Ryan - Listen Here

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 62:40
Size: 143,5 MB
Art: Front

(3:59)  1. Comin' Home Baby
(3:01)  2. The Gypsy In My Soul
(6:26)  3. Throw It Away
(4:51)  4. Accentuate The Positive
(3:19)  5. Anytime, Any Day, Anywhere
(5:32)  6. I Loves You Porgy
(4:02)  7. How Little We Know (How Little It Matters)
(4:04)  8. La Puerta
(4:54)  9. Rip Van Winkle
(6:27) 10. A Time For Love
(3:58) 11. No One Ever Tells You
(3:32) 12. Before We Fall In Love
(4:27) 13. To The Ends Of The Earth
(4:01) 14. Listen Here

With Listen Here, vocalist Jackie Ryan offers a diverse and delectable array of Great American Songbook and jazz classics, well-known but not regularly-recorded older hits, and superb original selections. Supported by Grammy Award-winning bassist John Clayton and most able friends (including Clayton's son, pianist Gerald Clayton, a three-time Grammy nominee), the overall effort soars. It's a tour de force of talent and taste. Ryan's voice is full, highly resonant and eminently inviting. It is also one of subtle shadings. Her colorings run from the bluest blue to the sultriest scarlet. Her intonation and rhythmic sense knowing precisely where to place a beat within a lyric line are uncanny. Those unique abilities assist perfectly in displaying and enhancing her fine emotional range. She covers the 14-cut session with elegance, grace and swing. 

A funk version of the pop-jazz hit "Comin' Home Baby" and the straight-ahead "Gypsy in My Soul" place Ryan out in front and make the initial up-tempo statements. While they launch the effort in fine shape, Ryan's wheelhouse doors open wide on her string-accompanied "Throw It Away." Crescendo, decrescendo and lyric interplay dominate this highlight. The ensuing ballad selections "I Love You, Porgy," "A Time for Love" and "Before We Fall in Love" demonstrate Ryan's gorgeous lyric approach and mile-deep emotional depth. And, not to be constrained, she does it in Spanish, too ("La Puerta").
The gospel-ized version of Harold Arlen and Johnny Mercer's "Accentuate the Positive" played here at a divine tempo  demonstrates that Ryan can sing hand-on-hip and finger-wag powerful. It's a hoot, as there's no faux soul in the rendition. She seals the deal with "No One Ever Tells You." Rickey Woodard's tenor funks up both selections. Gerald Clayton's impeccable taste, touch and meticulous accompaniment dovetail beautifully with Ryan's vocal instrument. The result is, indeed, keyboard/vocal unity. The sonorous John Clayton and guitarist Graham Dechter are understated elegance throughout. Drummer Obed Calvaire wisely never intrudes, and trumpeter Gilbert Castellano offers white- hot solos when and where he stretches out. Listen Here is an apropos title for this wonderfully entertaining recording, one which delivers abundant aural riches by way of a truly gifted vocal talent. It's also a great suggestion. ~ Nicholas F.Mondello  http://www.allaboutjazz.com/listen-here-jackie-ryan-open-art-productions-review-by-nicholas-f-mondello.php
 

Personnel: Jackie Ryan: vocals; Gerald Clayton: piano, organ; John Clayton: bass; Gilbert Castellanos: trumpet; Graham Dechter: guitar; Obed Calvaire: drums; Rickey Woodard: saxophone.

Listen Here

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Graham Dechter - Takin' It There

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 66:22
Size: 151,9 MB
Art: Front

(6:20)  1. Road Song
(6:22)  2. Be Deedle Dee do
(6:42)  3. Chega de Saudade (No More Blues)
(7:30)  4. Together & Apart
(7:09)  5. Takin' It There
(6:54)  6. Father
(5:42)  7. Grease for Graham
(4:57)  8. Hocus Pocus
(5:43)  9. Come Rain or Come Shine
(8:57) 10. Amanda / Every Time We Say Goodbye

A quartet is usually a self-contained collection of four, but sometimes these groupings serve as part of a greater whole; guitarist Graham Dechter's foursome does both. Dechter, drummer Jeff Hamilton, bassist John Clayton and pianist Tamir Hendelman serve as the rhythmic power source for the Clayton-Hamilton Jazz Orchestra but they can also stand on their own in fine, grooving fashion. Dechter, in his mid twenties at the time of this recording, has been keeping company with Clayton and Hamilton since he joined the rhythm section of their illustrious orchestra when he was only nineteen. He played the hell out the guitar back then and he's continued to mature at a rapid pace ever since. Right On Time (Capri, 2009) gave him an opportunity to spread his wings and fly as a leader for the first time, fronting the very same rhythm unit that gave him his first big break, and Takin' It There is round two from this team. 

These guys have all made their individual and collective reputations on the fact that they keep better time than a Rolex, so this fact isn't really worth an at-length discussion. The leader's style, direction and vision, however, deserve comment. Dechter may be operating in the present, but it doesn't seem to be his favorite time. The young guitarist is a '50s and '60s jazz devotee and it comes through in every way. His song choices, which reference guitar greats like Wes Montgomery ("Road Song") and Barney Kessel ("Be Deedle Dee Do"), bossa nova kingpin Antonio Carlos Jobim ("Chega De Saudade") and trumpeter Lee Morgan ("Hocus Pocus") are the first indication. His playing, which is rooted in the Montgomery, Kessel and Herb Ellis schools, is the second signpost. Smoking single note lines, blues-based rejoinders and clean-toned melodies, which nod to those three guitar greats at different times, sing forth from Dechter's axe. Familiar material is around every corner on this disc, but that doesn't mean it's run of the mill in execution. "Chega De Saudade" carries a certain degree of intensity in its being that's rarely encountered in other takes on this classic and "Come Rain Or Come Shine" is given a winning makeover. When Dechter and company put the classics aside, they prove equally capable of creating down-home feels and/or musical finery. 

"Together & Apart" is a mellow original from the leader which opens on some beautiful, cello-like arco work from Clayton, Josh Nelson's title track takes a little while to catch fire, but Dechter and Hendelman eventually fan the flames with some fine soloing, and Clayton's "Grease For Graham," powered by Hamilton's shuffling stick work, is a gas. While some of the positive feedback for this recording will likely be focused on the established veterans, Dechter deserves his due. He may have the luxury of playing with the cream of the crop, but they don't carry him. Graham Dechter's playing is capable, confident and charismatic in every way. ~ Dan Bilaswsky  http://www.allaboutjazz.com/takin-it-there-graham-dechter-capri-records-review-by-dan-bilawsky.php#.U-_UlGOumE4

Personnel: Graham Dechter: guitar; Tamir Hendelman: piano; John Clayton: bass; Jeff Hamilton: drums.

Takin' It There

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Adam Schroeder - A Handful Of Stars

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 65:45
Size: 151,4 MB
Art: Front

(7:30)  1. I Don't Wanna Be Kissed (By Anyone But You)
(7:33)  2. Midwest Mash
(7:21)  3. Pensive Miss
(6:02)  4. Jessica's Birthday
(6:30)  5. I Happen To Be In Love
(4:38)  6. Hidden Within
(5:31)  7. Just In Time
(6:33)  8. Nascimento
(4:55)  9. A Handful Of Stars
(3:56) 10. Just A Sittin' & A Rockin'
(5:12) 11. It's All Right With Me

Adam Schroeder makes his debut as a leader with A Handful of Stars. Following a number of giants who have played the baritone sax, Schroeder's approach is closest to that of Gerry Mulligan, due to his emphasis on the big reed as a melodic instrument, plus his preference for a pianoless quartet. Schroeder, who has recorded with Clark Terry, Bennie Wallace, Taylor Eigsti, Anthony Wilson, and the Clayton-Hamilton Jazz Orchestra, recruited the co-leaders from the latter band, bassist John Clayton and drummer Jeff Hamilton, plus guitarist Graham Dechter (also a Clayton-Hamilton sideman). "I Don't Wanna Be Kissed" is a perfect example of a great song that has been overlooked by jazz musicians; Schroeder's robust baritone sizzles in Josh Nelson's lightly swinging arrangement. Cole Porter's "I Happen to Be in Love" is another forgotten gem worthy of attention; Gerald Clayton's scoring of it reveals its potential, accented by the tasty solos of Schroeder, Dechter, and John Clayton. 

The baritone saxophonist is also up to the challenge of familiar works. His novel duo setting of Duke Ellington's "Just A-Sittin' and A-Rockin'" opens with his reed accompanied by Clayton's whimsical arco bass, though Clayton does alternate playing pizzicato as well. The leader's cooking setting of the standard "Just in Time" pulses with energy, with Dechter's solo showing shades of the great Bucky Pizzarelli. Schroeder's compositions are also potent. The breezy funk vehicle "Midwest Mash" recalls the groove sound popularized in the late '60s and early '70s, showcasing Dechter's bluesy solo. Schroeder's lush ballad "Hidden Within" was jointly arranged by the saxophonist and guitarist, where his horn almost seems to whisper. This is a well-conceived debut by the talented Adam Schroeder. ~ Ken Dryden  http://www.allmusic.com/album/a-handful-of-stars-mw0002006357

Personnel: Adam Schroeder (baritone saxophone); Graham Dechter (guitar); Jeff Hamilton (drums).

A Handful Of Stars

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Graham Dechter - Right On Time

Bitrate: 320K/s
Time: 59:46
Size: 136.8 MB
Styles: Guitar jazz
Year: 2009
Art: Front

[6:36] 1. Low Down
[6:03] 2. Wave
[6:15] 3. The Nearness Of You
[6:36] 4. I Ain't Got Nothin' But The Blues
[5:12] 5. Broadway
[7:26] 6. Right On Time [db Tune]
[4:21] 7. Squatty Roo
[4:08] 8. With Every Breath I Take
[5:53] 9. Lined With A Groove
[7:12] 10. In A Mellow Tone

Guitarist Graham Dechter's debut album as a leader could hardly be more charming or enjoyable. He does several things just right: for one thing, he presents a program that demonstrates impeccable taste, nicely combining familiar standards ("In a Mellow Tone," "The Nearness of You") with more obscure fare (Ray Brown's "Lined with a Groove," a nearly-forgotten Johnny Hodges bop number called "Squatty Roo"). For another, he quietly demonstrates his confidence by including a very fine pianist in the quartet -- a move that many guitarists' egos would prevent. And for another, he keeps his tempos moderate and his solos lyrical and self-possessed -- a sure sign of that rarest of commodities, a virtuosic young guitarist with nothing to prove. None of this is to say that his playing isn't expert or adventurous: he tackles headlong "Squatty Roo" with almost offhand grace and skill, and his playing on a strutting arrangement of "Nothing But the Blues" bespeaks complete self-assurance as well as impressive musical invention.

There are a few moments when you wish he would cut loose just a bit, especially on a rather pedestrian rendition of "I Ain't Got Nothin' But the Blues" (on which his solo sounds more like a string of pro forma blues clichés than an original statement), but for the most part, his understatement works beautifully. His solidly swinging take on the Thad Jones composition "Low Down," and his contrastingly gentle interpretation of the Jobim standard "Waves," stand together as bookended examples of both his skill and his taste. ~Rick Anderson

Right On Time   

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