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It's hard to know where to begin to assess a recording such as this - the cohesion and sheer excellence of the ensemble work, the clear narratives of the compositions, the inspired solo work, or the unity of the program as a whole. The best place may be with the co-leader, Brent Wallarab, who, tilting against the winds of popular culture, has somehow managed to not only survive, but thrive with the creation and sustenance of a major jazz orchestra that can hold it's own with any comers. With the profusion of jazz education over the last several decades, it is now no longer unusual to encounter bands such as this, stocked with first-rate players who could hold their own in any of the major centers for jazz around the world. Indeed, Indiana University has for years been a bastion of jazz, through the pioneering work of David N. Baker, and in many ways this record is a tribute to the long line of graduates who have come out of his classes and ensembles. One of the most accomplished of these is Brent Wallarab, who through his encyclopedic knowledge of the jazz tradition, and his own trombone playing, is perfectly placed to take the jazz orchestra well into the 21st century. A serious (serious enough to have a lot of joy on the way) student of Americana and other aspects of culture around the world, Brent is an insatiable reader, avid consumer of cinema (especially classic Japanese filmmakers such as Kurosawa and Ozu), and in general, someone who simply can not be boring. There is not a wasted note or gesture in this flowing program of music. A theme, a solo or a composition never overstays its welcome. Mark Twain wrote (paraphrasing Josh Billings), "The difference between the almost right word and the right word is really a large matter - 'tis the difference between the lightning-bug and the lightning", and in this context, Brent Wallarab knows just the right note to choose in his compositions. And it goes beyond that, to knowing which musician to pick to play a given part, and all of the soloists in the BWJO pick up the musical conversation and carry it forth with just the right amount of alacrity before handing the spotlight back to the ensemble. But it's not just the soloists who deserve mention; equally responsible for the superlative quality of all of this music is every player in the ensemble. Benny Goodman used to say that one piece of dead weed could ruin even the best band. There is no dead wood here. This enthusiasm and dedication clearly informs the music, as the band plays with the kind of abandon and inspiration usually reserved for late night gigs, not the relatively cold confines of the recording studio. In fact, even given the electronic tempo of present day culture and increasingly impersonal nature of technology, you can feel something coming from Wallarab and company that is the antithesis of the generic and the programmed. It feels like a warm wind is blowing, and a welcome one it is at that.
~ Loren Schoenberg, Executive Director of The National Jazz Museum in Harlem |
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Legendary drummer Mike Clark's upcoming 'Carnival of Soul' is a propulsive, joyful collection of jazz/funk tracks that pays homage to one of Clark's beloved genres, the B3 Organ Trio. In addition to Clark on drums, the album features Jerry Z, Delbert Bump and Jeff Pittson on Organ, Steve Homan and Rez Abbasi on Guitar, Delbert McClinton on vocals, Tim Ouimette on Trumpet, Lenny White on Drums, Kevin McKendree on Piano, Owl Studios artist Rob Dixon on Tenor Sax and others. Clark regularly tours the U.S., Europe and Asia, heading up his organ trio, and/or performing as a sideman. An initial round of U.S. dates in support of 'Carnival of Soul' have been confirmed for June. In addition to his straight-ahead performances, Clark is known for making regular appearances at band camps, colleges and drum shops as a clinician and jazz musician/expert.
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Frank Glover's ABACUS is a new and innovative three movement work for jazz quartet and orchestra. The solo quartet is comprised of the band Kilho, which features Frank Glover on clarinet and soprano saxophone, Zach Lapidus on piano and keyboards, Jack Helsley on acoustic and electric bass, and Dave Scalia on drums and percussion.With harmonic influences and innovative orchestration techniques drawn from composers like Takemitsu and Stravinsky, and sections of completely free improvisation by the solo quartet, one might be tempted to label the work as an attempt to combine jazz and classical music. This, however, is incorrect; ABACUS is not an attempt to reconcile dissimilar musical genres, nor a third-stream work that may be classified as “classical” or “jazz.” This is music that is the product of Frank Glover’s imagination, and results in something mysterious, complex, and beautiful that defies all categorization. |
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Transient Journey is the long-overdue third CD—and first for Owl Studios—from trumpeter, composer, producer, and educator Pharez Whitted. Throughout, Whitted displays his remarkable command of the trumpet and his broad scope as a composer, both of which are firmly rooted in the post-bop tradition associated with players like his late friend Freddie Hubbard. Indianapolis-born and -raised and based in Chicago since 2001, Pharez assembled a stellar sextet comprised of his favorite musicians from both cities to create Transient Journey, an exciting showcase for his gifts as a player and writer, as well as for the outstanding musicianship of his band members. |
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Garaj Mahal releases their first album for Owl Studios with More Mr. Nice Guy. This album is a solid fusion of jam band heroics and cerebrial jazz. Each member of the band is formitable on their instrument and each lay claim to a composition credit on the album. The Rick (Sean Rickman) joins the band as the new drummer and adds vocals to complement the already funky, jazz infused touring jam band. |
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Most big bands of the swing era, when jazz orchestras played for dancers, were headed either by virtuoso soloists (such as Benny Goodman, Artie Shaw and Harry James) or originators of a specific style (Count Basie, Glenn Miller and Duke Ellington who was beyond all categories). During the many decades since, and particularly during the past 30 years, the great majority of the leaders of big bands have been arrangers, whether it was Gerald Wilson, Bill Holman, Maria Schneider or Thad Jones. The arrangers have been mostly drawn from the studios (which is why Los Angeles has so many fine big bands) or academia. Since 1994, the Buselli Wallarab Jazz Orchestra has been co-led by Buselli and trombonist Brent Wallarab, resulting in five CDs and plenty of stirring Music. An Old Soul is entirely Buselli's project (the next outing will feature Wallarab) and the first full album of his arrangements. His charts focus on the ensemble's versatility, strong solo skills and group spirit. There is always a strong emphasis on melody in Buselli's writing, even during the more dissonant and dense stretches. When working with a standard, he believes in preserving the song's theme rather than making it unrecognizable through excessive reharmonization. He also considers intonation and the blending of the individual voices of his sidemen to be extremely important, particularly since the 16-piece orchestra has four rather than the usual five saxophonists, resulting in a gread deal of doubling. Mark Buselli's arrangements throughout An Old Soul utilize the wide variety of sounds and colors available in his jazz orchestra. There is a lot to enjoy and savor on this program. He has created a set of music that is personal, unpredictable and inventive while also being melodic, swinging and a logical extension of the rich jazz tradition.
~Scott Yanow
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Let there be peace on earth and let it begin with me. I'm ready to do my part and I hope others will do the same. One of my contributions now is the enclosed collection of seasonal music. My hope is to provide inspiration, many relaxing moments, and just spread some fun and joy. The selections come from many different traditions and are meant to bring people together. In the Monika Herzig Acoustic Project tradition, I deranged some familiar songs into vaguely familiar renditions with an unfamiliar twist. Go Tell It On the Mountain gets a Boogie Woogie bass line and smoking guitar solo. There are quite some meter transformations. Let There Be Peace On Earth swings will in 4/4 time, while This Little Light of Mine becomes a 6/8-gospel song with a wailing saxophone lead. Some songs that I grew up with are Silent Night and O Christmas Tree; or rather we sang Stille Nacht and O Tannenbaum. A brass chorale takes us into the old English Coventry Carol, but beware of that jazz combo taking over with lightning speed. And probably one of my favorites is our reharmonization of John Lennon's Happy Xmas with lots of percussion and our children singing for the war to end. Mabe some of my originals will become future standards for the holiday season. The instrumentals Give Peace Every Chance and Ode to a New Year set a seasonal atmosphere and Wendy does a beautiful job with vocals on Children Sleep Softly and Ballad for a Snowman. I couldn't resist including a piano rendition of my personal favorite, Vince Guaraldi's Christmas Time is Here. And yes, humor is also an important ingredient of holiday cheer - let's go our laughing with Indiana poet laureate Norbert Krapf's The Schneebrunzer. Peace
~Monika Herzig |
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The Twin Cats are a 5-Piece Jazz-Funk band, based out of Indianapolis, Indiana. The Twin Cats were founded by identical twins Adam and Seth Catron, (drums and guitar/vocals, respectively). Cameron Reel (bass guitar) and Phil Geyer (keys) were added to the group shortly after the twins began playing together. The Twin Cats' sound was completed by the addition of Indy jazz artist, Nick Gerlach (sax/flute). From intimate venues to outdoor festivals, this group loves to entertain: Playing festivals such as 10KLF, Summer Camp, and F.U.N.K. Festival have given the band the pleasure of sharing the bill with some of the top touring acts in the country. The Twin Cats have also had the opportunity to open for artists such as The Greyboy Allstars, The Dirty Dozen Brass Band, Rusted Root, and Here Come the Mummies. Though easily recognized by the identical twins, ultimately, The Twin Cats are best recognized for their innovative funk grooves, fused with unforgettable jazz melodies. They never have trouble engaging a crowd.
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A consummate accompanist who has played sideman to some of jazz's elite, pianist Rick Germanson is also a stellar soloist with a solid command of bebop vocabulary and an elegant touch on ballads. Backed by the regal rhythm tandem of bassist Gerald Cannon and legendary drummer Louis Hayes (a member of the original Cannonball Adderley Quintet), Germanson brings all of those qualities to bear in winning fashion on Off The Cuff, his third outing as a leader and debut for them eclectic and artist-friendly Owl Studios label. Together the trio demonstrates requisite fire on up-tempo burners and uncommon grace on ballads. And the superb sonic quality of the recoding brings every nuance of their interaction into crystal clarity. "I'm pleased with how Mike [Marciano] and Gary [Mielke] captured the sound," says Germanson. "The piano sounds full, Gerald's bass has such a beautiful, deep tone and Louis' drums are really present. I was very cognizant of that throughout the session. I kept saying, 'Turn up the drums more in the mix.' On so many albums you'll hear, the drummer is getting squashed in the mix. But you can really hear Louis' ride cymbal and you can really hear the brushes on this CD." Indeed. It's a wonderful triumvirate. All instruments speak eloquently and on equal footing throughout this brilliant and highly interactive trio session.
~Bill Milkowski |
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Change is in the air these days, and change has come to Derrick Gardner’s long-standing group The Jazz Prophets. After over 20 years as a sextet with a firm front line of Gardner, trumpet, his brother Vincent on trombone and Rob Dixon on tenor sax, the lineup has been augmented by Brad Leali’s alto sax and Jason Marshall’s baritone sax, making this new Owl Studios album, Echoes of Ethnicity, by Derrick Gardner & The Jazz Prophets + 2. Along with the new configuration comes a conceptual change, more a broadening of horizon than seismic shift, from the soulful, funky hard-bop roots of the sextet to a wider palette of sounds embracing a “little big band” tradition that also thrived during the hard-bop era under such leaders and arrangers as Charles Mingus, Gil Evans, Ernie Wilkins and Bob Brookmeyer. “It’s a great instrumentation to write for,” says Derrick of the octet (actually a nonet with added Afro-Cuban percussion from Kevin Kaiser on some tracks). “It has the sounds of a big band but also has the looseness of a small group, so you get a really full sound.” Actually the octet is the smallest ensemble that has one of every instrument in the standard big band: trumpet, trombone, alto, tenor and baritones saxophones, piano, bass and drums. Of course such a lineup can and has been used for solo variety and a loose jam session feel, but here the full ensemble possibilities of the little big band are explored in six charts by Derrick and two each by Vincent Gardner and Rob Dixon. Derrick says he “wanted to include everybody in each tune,” making full use of backgrounds and a full range of ensemble strategies and tonal colors. Whether it is a big band, octet or sextet Derrick is leading, one goal remains constant: connecting with the listener. Technique and virituosity may be all well and good, but the ultimate test for Derrick is listener appreciation, moving the audience. With that in mind, the music was given a live workout before an audience at an Indianapolis club, The Jazz Kitchen, the two nights before the band went into the recording studio.
~George Kanzler
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Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store Glover plays clarinet in modern mainstream territory that shares a border with free jazz. In this reissue of a 2005 CD that had limited distribution, he performs with the energized rhythm section of pianist Steve Allee, bassist Jack Helsley and drummer Bryson Kern. His writing for a string ensemble on one piece and a 14-piece band on another has intimations of Gil Evans and Béla Bartok. Glover's playing, rich and woody in the lower register, tends toward shrillness during virtuoso excursions into the upper regions of the horn. His improvisations have a nice balance between long phrases and whirlwind flurries with adventuresome interval leaps. In the final movement of his 3-part "Concierto Para Quarteto," Glover and pianist Allee execute stunning unison passages that blend in and out of free sections so subtly that only the closest attention discloses what is written and what is improvised. Stimulating stuff.
~Doug Ramsey, Rifftides
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Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store All my life I've loved the rhythms of South Asian folk music - the folk music from northwestern India and Pakistan, that is the basis for much of what is today called 'Bollywood' film music, Quawali, Bhangra. All of these are styles of South Asian music that GROOVE with a hypnotic high energy danceable rhythms...much the same as the African - American gospel that is the basis of so much popular American music. In South Asia as on the South Side of Chicago, 'charismatic music' - music that builds to an emotional and many would say spiritual climax - is at the core of traditional culture, and the basis for much in popular culture....simply put Punjabi folk music is to India what gospel is to America - Funky, fun, danceable and spiritual. In a time when it is all to easy to assume that all South Asians are angry somber terrorists in the making, it is so so important to see that this music is joyous, fun and hip. And just as so many jazz musicians (Grant Green, Cannonball Adderly, Joe Zawinul to name just a few) embraced the groove of gospel music, so I embrace the groove of my heritage...thanks to all of the musicians who help create this vision, the collective of musicians we call the Flat Earth Ensemble.
~Fareed Haque |
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Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store Way out East is a band that is a bit of a cooperative compositionally and the title of this recording hopefully reflects the diversity of the total package. The "Spaces In Time" that I am referring to are the individual tunes themselves that I feel have come together to create a unified concept that has become the sound of the band which was started on our first record. The best part is that it was just thrown up on the wall without much of a preconceived plan, hence creating a fresh outcome that I think is interesting and exciting. All the songs were unveiled to each other the night before the recording date at my house (along with some homemade chili!), and I feel that there is a thread running through them that is a caryover from the last record. Due to internet shopping where peple often buy one tune at a time, it can be frustrating to conceive something that is a total package that tells a bit of a story. That's what I like about this record. The songs are all individuals that stand alone OR together, and ths was done by chance. Enjoy!
~Bill Moring
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Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store When Mark Buselli and I started the Buselli-Wallarab Jazz Orchestra back in 1994, our conception was that of an entirely instrumental group. While we were not opposed to including vocalists from time to time, this was not our primary artistic ovbjective. Yet here we are 14 years later, presenting our third collaboration with Everett Green. There are many competent vocalists who aspire to sing with a big band, but artists like Everett are one in a million. From the first moment we shared the stage with this gracious and class gentleman, we embraced a partnership that has been inspiring and rich with musical reward. These arrangements were scored specifically to be presented at our annual concert held on or around Balentine's Day with no plans to record. However, in listening to Everett sing Alec Wilder's gem I'll Be Around or Lerner and Lowe's beautifully reflective I've Grown Accustomed To Her Face, you'll know why we decided to share this music with a larger audience. Guest vocalist Cynthia Layne provides a welcome feminine counterpoint to Greene and we are sure you will enjoy the performances of this remarkable woman. The music featured here is from our smaller big band formation, influenced somewhat by the ensembles of Mary Paiche: 2 trumpets, trombone, bass trombone, french horn, 3 saxes, and 3 rhythm. Economic advantages aside, this set-up provides a lighter sound, more intimate in many ways, yet capable of producing the impact of a full big band. Many of the arrangements are concioulsly smaller-scale as well. Sometimes, a single statement of the tune is all that is needed, as repetition can diffuse the intimacy of simple poetry. ~Brent Wallarab
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Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store W00t is the culmination of 8 years of touring, writing, jamming and working on the music. This is an all instrumental record with wild odd-time pieces and slow grooves and everything in between. Featured on the album are two compositions for each member, as well as the recording debut of the incredible new MOOG Guitar. W00t juxtaposes serious jazz based writing and playing with a world music sensibilty, and a great sense of fun and sense of humor. Serious jazz instrumental music often takes itself too seriously....Garaj Mahal does NOT!!! w00t!
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Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store Mention Indianapolis, and chances are good that eight out of ten people will associate the central Indiana city with motor sports, or sports in general (lest we forget about the Indianapolis Colts or Indiana Pacers). For an ardent, longtime jazz fan, Indy brings to mind some of the mighty-talented musicians who were raised and cut their musical teeth there, including brothers Wes, Buddy and Monk Montgomery, Slide Hampton, J.J. Johnson, David Baker, Freddie Hubbard and Melvin Rhyne to name but a few. The list ought to begin with 1940s and ‘50s piano player Erroll Grandy, who was considered the city’s founding father of jazz. A listen or two to Dragonfly will ensure you also add pianist-composer Steve Allee to the top-of-mind Indy jazz roster. Dragonfly is Allee’s sixth national jazz release as a leader, and the second CD in as many years from Allee’s trio with bassist Bill Moring and drummer Tim Horner, who were also featured on 2007’s Colors. While this is a relatively new player combination, their relationships and history helped them gel into a cohesive, empathetic musical voice. Saxophonists Rich Perry and Rob Dixon are special guests on select tracks. From start to finish, Dragonfly makes it clear that this is a band in which each of the players finds their interaction to be exhilarating. Much like the vivid imagery Steve captured from the bus ride through Belize, this trio is all about making the most of the journey – as the best jazz should. (taken from liner notes by Ken Frankling)
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Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store From the opening track, the earthy, grooving “Repub Club,” it’s clear that this is no ordinary organ quartet date. By deftly combining old school elements and modern modes of expression, the members of The Dixon-Rhyne Project have arrived at a startlingly fresh place -- essentially, a Reinvention of the jazz organ quartet. Despite their age difference, the four kindred spirits hit on a grooving accord from the opener, “Repub Club,” and continue that copasetic chemistry through the remaining nine tracks. With grooves so phat and playing so proficient, The Dixon-Rhyne Project is bound to catch on with the burgeoning audience for technically proficient jam bands. Reinvention is just the first step in this new direction for elder statesman Rhyne and his crew of young groovemeisters. (taken from liner notes by Bil Milkowski)
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Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store Derrick Gardner listens to the musical voices in his head. It is much to our benefit, and listening pleasure, that he pays such careful attention to these voicings. The trumpet-trombone-tenor sax sound is the heart of the sextet sound that has made his long-standing group, The Jazz Prophets, a band to enjoy...and take quite seriously. Get ready for 'A Ride to the Other Side..' Dave Miele of Jazz Improv Magazine states that "A Ride To The Other Side.." contains some of the most exciting modern jazz you're likely to encounter. And encounter it you should. This is compelling music. The program on the disc is largely original; the front line horns are top-notch. Gardner creates something unique through a mixture of timbres, styles and textures. Michael G. Nastos of All Music Guide states "The music is exciting, enthusiastic, consistently well played by everyone, and above all, real."
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Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store Cynthia Layne introduces her newest album for national attention with the release of Beautiful Soul, an album showcasing her vocal stylings in both the R&B and jazz arenas. Layne's new album is more R&B-influenced than her previous release Reality. "I listen to a lot of music styles and grew up on R&B music," said Cynthia. "I wanted to do an R&B album to reach more audiences and listeners. I think there is a little something for everyone on the album. For example, "All I Need" has a more singer/songwriter vibe; "I Can't Change You" is more jazz; "Be You" is more neo-soulish and "Free Yourself" is plain old school funk." "Funny," "Pimp Talk" and "Free Yourself" were co-written by Layne, who says she draws inspiration from everyday living and the life experiences she, her family and friends have experienced. "It seems to me that we are all either ready to go through it, are in it or coming out of some situation in life," she said. "And for me singing is like telling a story...and we all have a story to tell." Other songs of note on Beautiful Soul include "Kings & Queens" and "Letting You Go." The songs "Letting You Go" along with "Funny" and "We" were originally on Reality. Layne said that the reason for including them on the new record was "because as we gigged and played the tunes live they sorta evolved into something that was different and better than when we first recorded them." She felt they had to be a part of Beautiful Soul. "They are such great songs. And I'm sure that this album will reach millions of people who have never heard my music.
Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store Composer and world-class pianist Steve Allee proudly presents his newest musical gift entitled “Colors". This new CD, his fifth and first trio album features the amazing chemistry between Steve and the versatile and masterful accompaniment of bassist, Bill Moring, (Mulgrew Miller, Chris Potter) and drummer, Tim Horner, (Maria Schneider & Village Vanguard Orchestras). Steve Allee has been influenced musically by his world travels absorbing the “Colors”, sights and smells from France to Belize, the Bahamas to Brazil. This is evident as his music weaves a tonal tapestry that is both stimulating and intoxicating.
Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store For a young artist, Rob Dixon’s music maturity is unparalleled. This album represents the culmination of events and experiences that have affected Mr. Dixon’s life as a musician. The music is both respectful of tradition and free with expression and truly shows the musical diversity that is within Rob’s creative mind. After matriculating from Hampton University and Indiana University’s School of Music (considered the Julliard and Berklee of the Midwest), Rob moved to the top of the music world in New York City playing with legendary and popular artists such as the Count Basie Band, Tony Bennett, The Ellington Band, Slide Hampton, Dakota Stanton, The Illinois Jacquet Big Band, Rufus Reid, Akira Tana, the Maria Schnieder Orchestra, Jonah Jones as well as Bill Lee (composer and father of Spike Lee), Weldon Irving, Producer Ali Shaheed Muhammad (DJ of Tribe called Quest) The Skatellites, The Smithsonian Jazz Masterworks Orchestra and guitarist Melvin Sparks. The compositions and performances in What things could be are Rob’s statements that need to be expressed to the listening public. He has done so here in an exciting and thoughtful manner.”
Buy this album or separate tracks digitally from the following sources: iTunes / eMusic / Amazon / Napster / Owl Store “We are happy to present this tribute to the Christmas season with strong voices of musical conviction. The concept of strength and Christmas music don’t normally fit together. After listening to this wonderful music arranged and conducted by Brent Wallarab with vocals by Everett Greene and performed by Buselli-Wallarab Jazz Orchestra, I am sure you will feel the strength of commitment to the music by each member of the Orchestra each of which is a world class soloist in his or her own right. The music features solo performances by Jeff Conrad, Mike Stricklin, Mike Hackett, Rich Dole, Ned Boyd, Rob Dixon, Frank Glover, Roy Hetrick, Luke Gillespie and Tom Meyer as well as co-leaders, Mark Buselli and Brent Wallarab. I know that this production will find a permanent place in your collection of holiday music”.
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