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Jazz Saxophone Etudes Volume 2 by Greg Fishman
Greg Fishman has released his third installment of his take on jazz saxophone playing. His first two books Jazz Saxophone Etudes Vol. 1 and Jazz Saxophone Duets, both received critical acclaim by teachers and players alike. James Moody, Jerry Coker, Plas Johnson, Mark Colby, Gary Campbell and Bob Sheppard as well as the late Michael Brecker have all lended their praise for Fishman’s books. Can they all be wrong? Absolutely not! Greg Fishman’s books are outstanding gems with comprehensive information from explanation to play-along. Not only is the information there for the taking but also Fishman’s demonstrations on both tenor and alto saxophone are swinging and flawless. His sound and pitch is something any teacher should have absolutely no trouble telling a student to use as a model while playing along at home. Fishman sounds equally adept on both the alto and tenor saxophone voices. I wonder how good he sounds on soprano and baritone? – I would imagine pretty darn good!
Fishman is a native of Chicago who has recently moved to Arizona where he enjoys a prosperous career as both a player and educator. The vocabulary demonstrated in his etudes is pure bebop, tried and true. They feel great in your fingers and sound wonderful to your ears.
Each of the 12 etudes is named after a different street in Chicago – a nice tribute to the place he was born back in 1967. Fishman has been playing professionally since age 14 and earned a Masters in Jazz Pedagogy from Northwestern University. Neither of these accomplishments is lost on the etudes. The ideas presented in this book – and those before it – represent a dedication to the music called Jazz.
The two CDs, one each for alto and tenor, feature Fishman along with Dennis Luxion on piano, Eric Hochberg on bass and Phil Gratteau on drums. The world-class rhythm section swings hard as Fishman demonstrates each etude succinctly and with great precision.
There are many composers, saxophonists, and educators out there who possess these three unique abilities. Often one facet of their musicianship outshines another. Not with Greg Fishman. Fishman shows he is equally adept at composing, performing and teaching the concepts included in these etudes. They are a “MUST HAVE” for any saxophonist, or student of the instrument.
gregfishmanjazzstudios.com
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John Ricci Holding Time
From the first note John Ricci captured my attention. Ricci’s tenor sound is complex. His playing is bold, robust, energetic but not devoid of warmth. His sound is unique and completely his own. Comparisons can be made to contemporaries such as Chris Potter, Seamus Blake, Eric Alexander or even Joe Lovano. The aggression he displays on the opening track Mode Time however is more reminiscent of Trane or perhaps Brecker and Berg.
Holding Times’ second cut initially appeared to be the sometimes overdone jazz classic Here’s That Rainy Day. The only similarity to with song of the same name was the ballad setting. After two listens I still struggled to hear the song known as Here’s That Rainy Day. Upon closer inspection, it became clear that the second cut was in fact Ballerina! After a bit of a reality check I realized that I had read the song titles straight down on the CD jacket. Simply noticing the number “3” next to Here’s That Rainy Day would have saved me from questioning my knowledge of jazz standards! Ricci’s intervallic, while still melodic solo on Ballerina follows some tender playing by pianist Joshua Bowlus.
Despite my earlier confusion, I finally moved on to thoroughly enjoy Here’s That Rainy Day. The Latin treatment here keeps this classic lively and fresh. Billy Thornton on bass and Peter Miles on drums set the tone by pulsing and percolating behind Bowlus and Ricci. Changing things up a bit, bassist Thornton takes the first solo. John builds intensity and breathes life back into the rhythm section with his modern and rhythmic ride. His improvisational lines captivate the listener. He often favors larger intervals, which further emphasize his classically modern approach. Listening to this take makes me feel like playing the tune again! Thanks to John Ricci and his quartet for the inspiration.
The title track Holding Time swings from the top while seemingly changing from 5/4, 4/4 and then 6/4. John Ricci takes the melody, bringing the tune back to 4/4. There is something about this setting that reminds me of so many classic ECM recordings done in Oslo. Bowlus cascades his fingers across the keys while Thronton and Miles chug along and swing hard throughout.
While listening to the cuts on John Ricci’s Holding Time, I constantly found myself swaying and moving to the music. The groove in this quartet is infectious – and clearly by design. Ricci himself quotes his mentor Donald Brown, “When you play with or listen to others, it needs to groove from deep inside and make you and all those around you want to dance from the inside out.” Ricci’s music has clearly done this.
Slow Tango, an introspective and pensive ballad provides the only “down time” on Holding Time. The interplay between piano, bass and brushwork by Peter Miles has its charm. Ricci’s sound seems to open up a bit when he solos. To these ears shades of Garbarek creep out of the shadows. John Ricci displays great depth as a player, showing yet another side to his complex sound. I love the clinking keys behind the subtone!
Just when I thought I had this cat figured out, John Ricci displayed yet another side on the final cut. Bounce Blues by Ben Webster begins by Ricci paying homage to Webster and completely embracing the sound, style and feel of that tradition – for a bit. Again tradition and modernism are blended by Ricci and the rhythm section. By the second solo chorus, John Ricci abandons all tradition and begins to bend, break and twist all the rules. Bowlus brings us back to the traditional following Ricci’s musical tantrum. Bowlus takes it out a bit but only as a tease. He finishes just as “inside” as he started. Bassist Thornton has the last word before the final out chorus.
Lastly, the CD jacket proclaims, “Recorded in a traditional live/studio setting with minimal processing and absolutely no overdubbing.” The quartet’s esthetic under the direction of John Ricci is rooted in both tradition as well as modernism. That esthetic can be difficult to achieve bet is done so deftly here on Holding Time. Buy it. Everyone who knows Ricci’s playing will be pleased. Others who are not yet familiar with John Ricci’s tenor saxophone playing need to educate themselves. Listening to this CD will be one of the most enjoyable lessons you have taken!
http://www.myspace.com/riccijazz
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KALI by Theo Wanne Classic Mouthpieces
A Review by Skip Spratt of
SaxShed.com
Renowned mouthpiece maker Theo Wanne recently launched Theo Wanne Classic Mouthpieces at TheoWanne.com. This new Wanne endeavor, run by Theo and brother Tom, replaced MouthpieceHeaven.com one year ago. The original website and shop was a haven for vintage mouthpiece connoisseurs and players seeking quality refacing on pieces of any kind. I was also a customer when Theo’s shop was located in Philadelphia. It is worth noting that the majority of the pieces I play on today all have had Theo’s touch applied to them.
The following review is on the new line of KALI mouthpieces however I will add some comments on the PARVATI I tried as well. For those looking for honesty and an unbiased review, I will try to be both. We are all undoubtedly looking for honesty here. My admiration and respect for Theo’s work is documented here as well as in the previous review of his AMMA mouthpieces.
Last week I received four KALI and one PARVATI via FedEx. These were loaned to me for the purpose of my opinion and review. The four pieces were a Rhodium 7*, Rhodium 8, Gold 7* and Gold 8. I am pleased to tell you that the KALI of my choice passed every test with flying colors!
In terms of overall sound, the gold KALI were a better match for me and my 1969 Mark VI. The playability of all four pieces was superb. After extensive play-testing with the same reed as well as many different reeds I came to a conclusion that the 7* and 8 in gold both had their unique charm. The 7* was the most comfortable piece for me when used with my standard choice of Java 3 reeds. The subtoned low Bb all the way into the extreme altissimo was all easy to achieve. Additionally, the resistance vs. free blowing nature of the piece seemed to be in keeping with the modified Links, Dukoffs and Guardalas I have played over the years. The KALI 8 on the other hand was just a SCREAMER! It took more air and I favored a softer Java 3 to compensate. The end result was a fat, warm, robust tenor sound with a similar ease of playing as the 7*.
When compared to my Theo Wanne Custom Links, which is the only direct comparison I made, the KALI sounded more spread and was clearer with less noise in the sound. This was particularly noticeable at lower volumes. The 7* had the sound and feel closest to my modified NY Link. The 8 had a sound with plenty of projection and just as big as a house! Recorded on a cheap tape deck, laptop computer and studio micing – the gold KALI both sounded like me – just a warmer, more focused me. Although the sound of the KALI is very warm, there is an abundance of edge available when pushed.
In addition to play-testing these pieces on my own I had the pleasure of enlisting two colleagues along the way. When the pieces first arrived my friend Kaj Hansen gave a listen to all four KALI. He immediately preferred my sound on gold over rhodium and found it difficult to choose 7* or 8 as being better. When pushed to make a choice, he preferred the bolder, more robust sound of the 8.
One day later, Carl Cox, who is a wonderful player in his own right gave a listen to me and tried the KALI for himself. Oddly enough, he sounded better on the rhodium and best on the PARVATI! Morphology obvious plays a large part in what pieces each individual prefers. When Carl listened to me he was torn between the 7* and 8. We concluded the 7* was a better well-rounded piece for many situations and the 8 was a great screamer which still could be controlled when necessary.
Each KALI, as well as Theo’s original AMMA comes with the ingenious Liberty Ligature, Reed Replace Cap and interchangeable bite pad (mouthpiece patch). The ligature is integrated into the mouthpiece by two removable setscrews. There are available interchangeable pressure plates and five placement options for the ligature. I chose to use the Liberty Ligature in its default (2nd hole) position. Removing the Liberty Ligature and opting for a traditional ligature also provided me with two conveniences. The first convenience was being able to use a regular mouthpiece cap instead of the reed replacer cap. The second was being able to access the table for flattening the tip of a warped reed. This old trick of placing the tip of the reed under your thumb and against the table has become habit for me. I spoke with Theo at length regarding my experiences with the Liberty Ligature and Reed Replacer Cap. As usual, Theo was responsive and eager to assimilate my findings into future designs.
Lastly, a note on the PARVATI: I can tell you with all honesty that my buddy Carl Cox sounded best on this PARVATI 7*. It played extremely well for me but a PARVATI just isn’t the right piece for someone who has been a fan of Dukoffs and Guardalas. As I told Theo in an earlier conversation, “Too much Joe Lovano in my sound on the PARVATI.” Players looking for a darker, rounder more traditional piece will gravitate toward the PARVATI.
All this said, I have not even approached the topic of craftsmanship yet. Theo’s attention to detail is surpassed by none. The pieces are all a work of art. You can talk about chamber sizes, tips, and rails, roll over baffles, curved inner sidewalls all you want. The bottom line is either a piece works for you or it doesn’t. These KALI work GREAT for me. They give me the core to the sound with plenty of brightness and edge when pushed.
Over the years I have played on Dukoffs, modified Links and an original hand made Guardala MBI exclusively for 14 years. Following the 14 years on the Guardala MBI, I felt the need for change. That is when Theo customized a new, NY Link for me. That Link gave me more fullness of sound, yet with better control than the original MBI. This KALI allows me to recapture some of what I had in that original Guardala, while it maintains the bonuses associated with the large chamber. Now I just have to get a KALI to keep!
You can judge for yourself with the clip below.
Skip Spratt
SaxShed.com
http://saxshed.com/kcl.mp3
Jazz Etudes for Saxophone Level 3 by Randy Hunter
(24 Swing & Bop Studies for Tenor
and Alto)
Atlanta based saxophonist Randy Hunter has released his book and CD set, Jazz Etudes for Saxophone Level 3. Mr. Hunter recently accepted a position teaching jazz saxophone at Emory University in Atlanta, GA and will begin teaching there in Fall of 2008. This CD features Randy Hunter playing tenor sax along with Guy Fenocchi on guitar, Moffett Morris on bass and Tim Nash on drums. 
The 71 page Jazz Etudes for Saxophone Level 3 is available with parts for both alto and tenor on facing pages. The inclusion of both alto and tenor parts within the same book has become more common with new saxophone publications. It is a handy feature I’m glad to see Randy Hunter has included. Having both parts available in the same book is a matter of convenience when teaching with mixed saxophones. All the examples are demonstrated on tenor, however alto music is provided as well.
Each of the 24 etudes is based on a standard set of chord changes. There are actually six referenced standards such as Just Friends and There Will Never Be Another You and Green Dolphin Street. Each of the six set of chord changes features four separate etudes written by Hunter. The etudes are in presented in progressive order.
In addition to the etudes themselves, Randy Hunter offers some helpful insights on jazz theory and articulations. Each level of the four etudes is explained in great detail with suggestions for the student. The explanations are clear and easy to understand, but not “dumbed down” too much for more advanced students.
In my own studio I have found the etudes to be quite useful for sightreading and improvisational play-alongs. Although each etude is demonstrated by Hunter on tenor, I find the rhythm section tracks most useful with students. Each student can learn and interpret the solo with the guidance of their own teacher and/or improvise over the changes.
Kudos to Randy Hunter who has provided the saxophone community with another useful jazz publication.
www.randyhunterjazz.com
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Howard Isaacson Blue Skies
Atlantic City saxophonist Howard Isaacson has just released his newest CD Blue Skies. The slick and smooth release further solidifies Howard’s place among the those making a name for themselves in smooth jazz.
Isaacson began his career in Philadelphia and like many or that area, migrated to Atlantic City for plentiful work in the Casino lounges and showrooms. Blue Skies features an impressive array of some of A.C’s finest along with Isaacson on saxophone and woodwinds. The list of personnel includes Frank Strauss on keyboards, Vince Colella, John Mulhern, Kit Worton, Phil Polsinelli and Alex Domshot on guitars, Andy Lalasis and Rich Kurtz on bass, Matt Curran on drums, Bob Ferguson on trumpet and bassist Bob Fowler programming and mixing. In addition to Isaacson’s better-known woodwind playing, he is credited with keyboards, drum programming, trumpet and trombone.
Right off the bat Kickin’ Back caught my attention with the opening guitar riff. My initial thought was, “Is that the best guitar sample in the world or just a great studio guitar sound?” As I should have guessed it was the sound of Vince Colella, longtime Atlantic City guitarist. Isaacson is featured on soprano saxophone here as well as additional woodwinds filling in the background.
Street Smart features Isaacson’s tenor on this smoothed-out hip-hop groove. The soprano and other saxophones add a nice touch to the background as well.
Special Delivery features multi-instrumentalist Isaacson on flute. He demonstrates here that he is a formidable flute player as well a saxophonist – something I know first hand from our work together in Atlantic City.
Beaches opens with another familiar sound to these ears – Frank Strauss on synth. Howard Isaacson, in addition to being a fine musician himself, has enlisted the aid of Atlantic City’s finest on Blue Skies. Andy Lalasis and John Mulhern lend their talents on bass and guitar respectively. The alto solos without any rough edges following Strauss’s recap of the intro synth solo.
The aptly titled First Snow captures the mood and spirit felt by many during the holidays. Isaacson’s soprano sound is his own but this pop ballad setting is “Gorelickesque” – not a bad thing at all.
Blue Skies heralds the inclusion of the remake of Earth, Wind and Fire’s Fantasy. For the third time I was hit by a familiar and very dear sound to me on this CD. This time it was the voice of Kathy (Wilson) Fowler, another veteran of the casinos in A.C. Isaacson takes the soaring alto lead opposite Kathy Fowler’s – perfect as always – vocals.
Howard switches back to tenor for the melody and solo on Block Party. The sax section interlude and following solo is reminiscent of Tom Scott and the L.A. Express. Strauss stretches out again here on his signature synth sound with Isaacson having the last word on the vamp out.
About midway through this journey Isaacson offers one of the nicest tunes on Blue Skies. Summers Past reminds this writer of many Atlantic City summers gone by. Thanks to co-writers Isaacson and Lalasis for bringing back the memories.
Saturday Night features Howard on tenor with Strauss setting up the solo with a rhythmic piano vamp. Worton, Lalasis and Curran groove hard all the way on this one.
The title track Blue Skies shows off Isaacson’s signature alto sax sound – arguably his favorite voice. Alex Domshot stretches the smooth jazz sensibility with his harmonically provoking guitar solo.
When I first heard Getting Closer and the opening bass solo I thought, “That’s Andy.” Andy Lalasis shows his true colors with the chorused (I think it’s chorused) bass intro. Solos by Isaacson and Domshot follow the catchy melodic vamp.
The final cut entitled Desert Sun, complete with slap bass and hand claps sets up the party atmosphere for the way out on this one. The tune meanders through several feel changes with the final statement being Howard Isaacson’s alto saxophone soloing above the band. This seems a very fitting end to this journey through Blue Skies.
I would be remiss if I did not mention that I am envious of Howard Isaacson’s recent collaboration with Vince Colella, Kathy (Wilson) Fowler, Frank Strauss and Matt Curran. Kathy Wilson had one of THE most smokin’ bands in the Atlantic City Casino Lounges during the 1980s. I am proud to have been part of that. It is wonderful to hear Howard along with other great talents from Kathy’s old band and beyond on Blue Skies.
www.howardisax.com
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Ed Vezinho – Jim Ward Big Band – With Friends Like These
They’ve done it again. Longtime Atlantic City showroom musicians Ed Vezinho and Jim Ward have released their third and arguably best CD on Dreambox Media. Although I am happy to be among the “friends” who contributed to this project, I can honestly say this recording is among the best big band recordings I have heard in recent years. Syracuse natives and Atlantic City transplants Vezinho and Ward have been fueling this big band fire for 26 years now. Vezinho’s writing, arranging and lead alto skills reflect his vast experiences playing for virtually every big name in the business. Ward’s lead trumpet sizzles here as it has for many years playing lead for some of the best in the business. 
For nearly 20 years, I have been pleased to be among many in the Atlantic City area who have played with this big band. Most often I would be called upon to play one of the tenor chairs and at least once on second alto next to Ed. This is brought up only to highlight the fact that I’ve had the pleasure of being on the bandstand with Ed, Jim and the boys on many occasion. The banter between the musicians can be seemingly harsh and cutting at times. The ribbing passed around by band members and their leaders is not for the faint of heart. All this said, they are a close net and close-minded group who know how to play in an ensemble – as well as “bust” on each other as an ensemble.
With Friends Like These is a fitting title for such a group. All kidding aside, the “friends” who lend their talents here drive this excellent big band to new heights.
The twelve tracks on this CD run the gamut from standards to show tunes and some clever originals from Ed Vezinho. My personal favorite on Friends Like These is Joy by J.S. Bach and “swingbanderized” by Vezinho’s clever arrangement. The score plays out with both a traditional as well as irreverent look at Bach’s famous work. Robert Rawlins and Clint Sharman offer wonderful solos on flute and trombone respectively. Joy is clever, well written and exceptionally well played by the ensemble.
Ron Kerber, Michael Pedicin, Al Harrison, Robert Rawlins, Pete Colangelo, Denis DiBlasio, George Rabbai, Larry McKenna, Brian Betz and yours truly make up the friends who are featured beyond the regular band members. Most of these Atlantic City veterans also enjoy positions at local colleges and universities such as UofArts, Temple and Rowan University. Each stylist offers their own jazz perspective here on Friends Like These.
Not to be outdone by the guests, the EVJWBB regulars show their own impressive talents throughout this musical journey. The tenderness of octogenarian Stan Weiss’ baritone is well documented on Ellington’s Sophisticated Lady. Longtime tenor man John Guida shows a couple different sides while swinging on the opening Hat Out of Bell and then the funky title track With Friends Like These.
The Ed Vezinho – Jim Ward Big Band is comprised of many talented individuals who have played with every conceivable person in the business from Sinatra to Sinbad. Both Vezinho and Ward are generous with sharing solos and lead playing within the band. This recording displays only some of the abilities found within the band. Certainly every member of the band is worthy of recognition. It is well worth the money and time to discover, purchase and listen to With Friends Like These – time and time again.
Listen to SkipSpratt on Track 12 Maybe here:
http://www.digstation.com/AlbumDetails.aspx?albumID=ALB000021337
http://www.target.com/Friends-Like-These-Vezinho-Ward/dp/B001D4CD7K
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Master Lessons for the Creative Musician by Bruce Mishkit
 Every
once in a while a new publication comes along that makes
an important and lasting contribution to the art of learning
and teaching saxophone. Bruce Mishkit’s Master
Lessons for the Creative Musician is just one of those
books. Warner Bros. Publications originally published this
book and cd in 1994, as Sax/Flute Lessons with the
Greats. This same book has now been updated and released
by Mishkit’s own Deva Productions.
The 94 pages of text and music highlight the music, careers
and practice habits of six major influences in modern woodwind
playing. Ernie Watts, Lenny Pickett, Hubert Laws, Paquito
D’Rivera, Dave Liebman and Joe Lovano all lend exercises
to facilitate the development of technique and sound production.
The section contributed by Ernie Watts by itself offers
a plethora of ideas to be practiced over a significant
period of time. The book would be worth its price of $24.95
just with the Ernie Watts portion alone.
Lenny Pickett’s etude offers some extended techniques
to work on such as circular breathing, altissimo development,
alternate fingerings and multiphonics. For those familiar
with Michael Brecker’s Delta City Blues, this etude
is similar in style.
Hubert Laws spends a fair amount of time demonstrating
the development of tone quality on the flute – a
necessary step for any flautist. The exercises themselves
are as old as the instrument itself and are used in many
flute studios in various forms. They appear to be variations
from Taffanel and Gaubert and Moyse – great stuff
for dedicated flautists or woodwind players. It is a remarkable
asset to hear Hubert Laws playing through these exercises
in their entirety.
Paquito D’Rivera, in his own entertaining and profound
way offers his own insight into better understanding several
styles of Latin and jazz music. His demonstrations on saxophone
and clarinet have been carefully transcribed for inclusion
here. They work very well as etudes for the more advanced
student.
David Liebman shares some valuable octave and overtone
exercises that any advancing saxophonist should study seriously.
His concept of “prehearing” offers enlightenment
with regard to finding different partials in the overtone
series.
During the course of this cd and text, each master player
shares his own concept and some of how they approach the
instrument. Joe Lovano here demonstrates staying within
a certain range of the tenor sax while playing over four
examples. The examples are based on the same series of
chord changes in C Major on the horn. The exercises address
creativity issues and certainly beckon players to think
on a higher level.
Bruce Mishkit follows the six master players with his
own chord and scale syllabus as well as his own final solo
example. These final pages in the book offer an excellent
resource for help understanding jazz theory and harmony
as it relates to improvisation.
Kudos to Bruce Mishkit and Deva Studios for re-releasing
this great resource. You can find more information at devaproductions.com
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The Saxophone
Survival Guide & Old
Sax Nu Soul by Eric Daniel
 The
Saxophone Survival Guide and Old
Sax Nu Soul by Eric Daniel
The Saxophone Survival Guide is a comprehensive
look at the world of saxophone for those who aspire to
enter into it. Eric Daniel who has attended Berklee College
of Music and New England Conservatory offers up his look
at the world of saxophone.
This survival guide outlines several strategies and tips
for aspiring saxophonists such as setting goals, general
preparation, doubling, finding work and keeping a good
attitude. The text is easy to read and Daniel’s writing
style is upbeat and encouraging. The book is well organized
however it is absent of written musical examples. Perhaps
a future edition will contain those as well.
The Saxophone Survival Guide also offers some
excellent recommended resources in the back of the text.
Using these resources like The Art of Saxophone Playing by
Larry Teal, coupled with Daniel’s text will give
any young player the information they crave. This valuable
information is not often covered during the course of a
weekly saxophone lesson.
You can find out more about Eric Daniel and how to order
his materials at www.saxman.it
Old Sax Nu Soul – Eric
Daniel & Friends
 Eric Daniel’s creative release Old Sax Nu Soul offers
some fresh and funky tracks featuring this longtime saxman’s
hypnotic saxophone sound. Daniel, who attended Berklee
College of Music some 30 years ago, has performed with
Natalie Cole, Paul Young, Randy Crawford and many others
as well. Nowhere he now resides in Italy where he plays,
performs and teaches saxophone and woodwinds.
Old Sax Nu Soul is Eric Daniel’s inaugural
release, despite a long tenure in the music business. The
cd contains 16 funky, yet minimal tracks that provide a
bed for Eric Daniel and Friends to improvise. Eric plays
soprano, alto and tenor saxophone as well as flute on this
QuartoMiglio QualityMusic release.
Eric’s playing and sound are charming at times.
The lack of complex form and structure leaves plenty of
room for blowing, however it seems as though more melodic
and harmonic components are conspicuously missing from
the some tunes. That being said, when I first listened
to Minimal (This is Eric) and read the liner notes
I began to understand the music of Eric Daniel a little
better. The titled explains his vibe succinctly and completely.
Eric is a minimalist. His tunes lay down a groove where
he is free to express himself. Minimal. Free. Eric. I get
it.
The opening track Talkin About Midnight features
Eric on a silky and smooth-sounding alto sax. Here, as
throughout the cd, the tracks are built around a funky
background, which lays the groundwork for his improvisational
saxophone work. The tune lingers in a decidedly mellow
state and ends with the reverberating “hello…”
The second track, I Wanna See You Dance starts
off with Daniel on flute and Mike Applebaum on trumpet.
The tremolo-rich bass sound gives it a unique flavor, although
a bit unexpected. Vocalist Orlando Johnson takes the lead
through most of this song with Eric Daniel filling the
cracks with some gritty flute and Applebaum’s trumpet.
Central begins with another funky bass and drum
groove as a bed for Daniel’s improvisations – this
time on soprano sax. Maurizio Filardo shares some sparse
guitar playing and Carlos Sarmiento some keyboard pads
as Eric Daniel’s works his soprano into an avante-guardesque
frenzy.
Da Loot is yet again a forum for Daniel’s
soprano and tenor improvisations only briefly interrupted
by a quote of the vocal melody. Dr Feel-x’s deep
and sultry voice invokes shades of Isaac Hayes on The
Ghetto. Eric Daniel stretches on alto this time.
Tenor sax is Eric Daniel’s voice of choice on Jesus
Said. The spiritual anthem showcases some musical
banter between Daniel’s tenor Johnson’s vocals
and Bruno Marinucci’s guitar.
African influenced Deeper enlists the aid of
percussionist Jack Tama behind Dr. Fell-x’s deep
and deeper vocal recitation. For the first time on this
cd, Old Sax Nu Soul, outlines a more contemporary
pop aesthetic. However there is no shortage of improvised
alto from Eric Daniel on this tune. The background vocals
and lead vocals by Jenny B and Karen Smith give this tune
a bit of needed structure that seemed absent from the previous
tracks.
Ooh Baby features Daniel on flute and Alex Britti
on guitar. It’s another jam for the ensemble without
any rough edges. Eric Daniel moves back to his main voice,
alto sax for Walkin on Moonlight. Art of Sax (Never
Gonna Stop) and Gotham City feature his improvised
tenor saxophone.
Jazz Rhythm has Eric quoting I Remember You over
a James Brown influenced groove. Acul on vocals helps create
the hint of J.B. whether intentional or not. This song
seems to have a bit more forward momentum than many of
the other compositions here, particularly when it launches
into Carlos Sarmiento’s keyboard solo. Lastly, Daniel
conjures up soundscapes of Maceo Parker – again maybe
intentional and maybe not.
The Flow hosts an infectious groove for Eric
Daniel’s soprano. Here and elsewhere I am reminded
of Bill Evan’s soprano playing with Miles Davis’ electric
band of the 80s. The last track on the recording entitled People lists
Eric Daniels as playing tenor on this one. It does sound
like an alto to me but possibly could be a tenor in the
upper register – whatever the case Daniels has a
unique and expressive approach to all the saxophones here
on Old Sax Nu Soul.
If you are seeking another cookie-cutter smooth jazz cd,
this recording is definitely not what you are looking for.
On the other hand, if you are a fan of creative, risk-taking
improvised groove music with a message, Old Sax Nu
Soul is for you!
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The
Romanian-American Jazz Suite
by Sam Newsom & Lucian
Ban Ensemble
 American
saxophonist Sam Newsome and Romanian pianist Lucian Ban
have just released The Romanian-American Jazz Suite. As
indicated in the press release from The Romanian Cultural
Institute, “The CD presents a multi-movement work…which
combines Romanian folk music with American jazz.
Transilvanian Dance begins with the melodic statement
and guitar solo followed by some improvisational interplay
between soprano and baritone saxophone. Lucian Ban’s
soprano soars above Alex Harding’s gutsy baritone
as the two poke and prod each other into a musical frenzy
before the final statement.
Pianist Lucian Ban embarks on a tender and pensive journey
on Carol. Newsome and Harding respond respectively
on soprano saxophone and bass clarinet. The duo or Newsome
and Harding exhibit a beautiful musical sense between them.
The remainder of the tune is just gorgeous with bassist
Arthur Balogh, drummer Lillard Dyson and guitarist Sorin
Romanescu completing the ensemble. I truly love this tune.
Balogh and Dyson set up Danube Stroll with a
decidedly Afro-Cuban flare, albeit defiant of true category.
Romanescu solos first followed by Newsome on some impressive
soprano playing. Newsome has a wonderful command and voice
on soprano saxophone – definitely in the Liebman
tradition.
The fourth cut on the cd, Home is easy to overlook
due to its understated nature. The tune again predominantly
features Ban and Newsome in a duo.
Prelude immediately follows the understated Home once
again with Harding on baritone and the full ensemble behind
Newsome’s waning soprano.
A decidedly different-sounding Colinda jumps
off from the start with Romanescu and Harding trading statements
on guitar and baritone. About a minute into Colinda the
composition takes a turn from a funky, baritone punctuated
piece to a more flowing jazz-rock groove. The contrast
initially seems odd, however it comes full circle at the
end. Harding has the last word, barking out the final phrase
with Romanescu’s guitar underneath.
Bucharest Part I and Part II composed by Sam
Newsome have heavier ethnic influences to my ears. The
d harmonic minor tonality sets the stage for the ethnic
sound. Oddly enough the traditional Romanian folk songs
sound more “Americanized” and this composition
by Newsome more exotic. Newsome takes time on both Part
I and Part II to demonstrate some extended teqnicues
on soprano such as the use of multiphonics. Dyson lends
a nice bit of drumming during the vamp on Part II as
well.
The cd ends with another feature composed by and performed
by Ban and Newsome. Where is Home? Seems a fitting
ending to this Romanian-American journey.
So in the end, what you have here on The Romanian-American
Jazz Suite is some well thought out, well executed
American jazz music. The Romanian influence is apparent
after understanding the intent of Ban and Newsome. What
is more at the forefront is some beautiful jazz playing
by a very capable ensemble – whether from America,
Romania or anywhere in between.
You can find out more about the Romanian Cultural Institute
at www.icrny.org
CD distribution is handled by North Country Distributors www.cadencebuilding.com and
Jazzaway Records www.jazzaway.com
SS
The
Chill Factor and Liquid Horn - Jenny
Hill
 The
Chill Factor is the third solo release by tenor
saxophonist Jenny Hill. This longtime New York-based
saxophonist has coined a unique sound for herself and
her band on this newest release from Park West Studios
of Brooklyn, New York.
The opening track entitled Beautiful Madness features
the classic sound of tenor and trombone in a traditional
jazz setting. The addition of vibraphone to this piano-less
quartet further delineates this quintet from many others
playing similar forms of straight-ahead jazz. Hill’s
tenor sound is full, bright and still robust here. She
also shows she has formidable command of the instrument – just
as I remember from our days together at Berklee in the
early 80s.
The samba Ocean Mist showcases Jenny’s
talent on flute as well as Curtis Fowlkes hearty trombone
sound. Passion Dance begins with a quasi-New Orleansesque
groove (Is that a real term or did I make that up?) with
Hill and Fowlkes on tenor and trombone respectively. Ms.
Hill then launches into a tenor solo that tests the ears
of the ensemble and beckons to their collective creativity.
Her sound is complex and full of influence. I hear Trane,
Klemmer, Felder, Brecker, Rollins, Vadala - bunches of
influences. With so many perceived influences projected
by this listener it is likely that I’m just hearing
JENNY HILL the saxophonist.
Regrets Only showcases Jenny Hill as balladeer.
David Ambrosio’s bass, Stefan Bauer’s vibraphone
and Todd Isler’s brushwork set up the perfect mood
and background for this more tender moment on The Chill
Factor.
Following my captivation with Regrets Only I
did let most of The Seventh Nerve play on before
I rewound itunes to see what I had missed. It’s a
nice, relaxed tune but one that I easily overlooked upon
the first listening. Hill’s soprano playing is impressive.
The soprano can be a weapon in the wrong hands and Jenny
Hill handles it very well with great skill.
All songs on The Chill Factor are composed by
Jenny Hill with the exception of Passion Dance and
Davis’ Nardis. The sound of the sax and
vibes is somewhat reminiscent of the sound of the Gary
Burton Band when augmented by Jim Odgren around 1980. The
ECM sound may have been the goal or just a byproduct of
past influence. Whatever the case – I like it!
Monkeys of Kilimanjaro is a playful number where
Hill stretches a bit on flute. The pulsating rhythms originating
from John DiMartino on piano, Oswaldo Amorim on bass and
Isler on drums propel soloists on flute and trombone.
Elephant Boogie Mania – what can I say?
It sounds like James Brown meets New Orleans Jazz with
a little blues thrown in. This sounds like a fun tune to
blow on in the horn friendly key of F! Where’s the
tenor solo Jen?? :-)
Your Last Breath is likely one of the most unique,
yet musical numbers offered here by Hill and company. The
sound of soprano sax, trombone and vibes is unusual to
my ears but works quite well. This combination of soprano,
trombone and acoustic bass is handled very well in this
setting where pitch could be an issue. Fowlkes and Hill
and Jerome Harris are to be commended for their musicality
and sense of pitch.
I found this cd to be quite enjoyable. The ensemble works
together like a band that has performed together beyond
the four walls of the studio. They share a sensitivity
that comes across clearly on the recording and invites
the listener to be part of the experience. Thanks to Jenny
Hill for releasing this beautiful collection of jazz saxophone
music.
You can find out more about Jenny Hill at www.JennyHillJazz.com
SS
Marsha Heydt - One Night
 Marsha Heydt has been living and working around New York
City for the past two decades. Following her tenure at
The University of the Arts in Philadelphia and a brief
stint in Los Angeles, Heydt settled in New York. She has
now released her first Cd One Night on Blue Toucan
Music.
One Night features Marsha Heydt and her ensemble
on 13 tracks, many of which have a decidedly Latin and
Brazilian flavor. Heydt is featured on alto and soprano
saxophones as well as flute. The core rhythm section showcases
Norman Pors on piano, Marc Schmied on Bass Vito Lesczak
on drums. Sheryl Bailey offers some tasteful guitar soloing
on several tracks and Marlon Simon offers his special Latin
Percussion on nearly all the tracks.
The first cut sets the mood with the driving Afro-Cuban
rhythms from Simon on congas and timbales. Todd Schwartz
takes the first solo on trumpet, again giving the tune
an authentic jazz/salsa flavor.
Throughout the Cd the most striking feature to this listener
is the addition of strings to the standard jazz ensemble.
Although many jazz artists - starting with Charlie Parker – have
added string arrangements to jazz standards it remains
a fresh sound. Here it is not overdone but a perfect compliment
to Heydt’s flute.
Marsha Heydt takes some risks on this Cd as well. The
treatment of You Don’t Know What Love Is is
unusual. The psychedelic/smooth jazz with strings version
of this often-called standard hosts an abundance of influences.
I can hear shades of Hendrix, Parker with Strings, Hal
Galper and of course Marsha Heydt!
One of the Cd’s most endearing moments comes at
the hands of vocalist Carla Cook. I Want You to Know features
a beautiful string arrangement behind Heydt’s soprano
saxophone and Cook’s vocal. Cellist Erik Friedlander
also enjoys some nice interplay with Heydt’s flute
on The Love Theme from Spartacus.
The best surprise comes at the end of this first Cd by
Marsha Heydt. The final cut Afrikaan shows a side
of the Heydt and the ensemble not heard previously on One
Night. The infectious montuno played by Pors and underscored
by the entire rhythm section is the perfect balance to
Heydt’s flute and Schmied’s bass. This is my
favorite tune on the album.
You can find out more about Marsha Heydt at www.marshaheydt.net and
www.bluetoucanmusic.com
SS
Denis DiBlasio / Brian Betz
Project – Two CD
Collection
2/24/08
 Denis DiBlasio and Brian Betz have recently released their
self-titled CD on Dreambox Media. The two CD set features
DiBlasio and Betz in two separate, yet complimentary settings.
CD one features twelve duos by the pair on baritone sax
and guitar respectively. CD two captured the live quintet
at Chris’ Jazz Café of Philadelphia in May
of 2007. The duo is joined by Gerry DeLoach on tenor sax,
Steve Varner on bass and Jim Miller on drums.
When I first opened this two disk I chose to listen to
the live cuts first. Having been very familiar with DiBlasio’s
baritone saxophone playing I was yet very curious to hear
DeLoach and DiBlasio side by side. Needless to say, DeLoach
and Diblasio’s interplay is consistent and hard-bopping
at all times. The rhythm section of Betz, Varner and Miller
hold firm on a series of blistering tempos – not
for the meek.
What Is This Thing Called Love is likely the
most telling track of this whole CD. Denis DiBlasio and
Gerry DeLoach bob hard and fast in a fury of notes climaxing
in an old-school tenor (albeit tenor and baritone) battle
of years gone by. DeLoach’s haunting and pensive
ballad Where To Now? remains the only departure
from some textbook bebop playing demonstrated by all at
Chris’ Jazz Café that evening.
Having witnessed more music-per-pound on disk two than
I bargained for, my ears were ready for a ballad. I was
not disappointed by DiBlasio and Betz on the first, duo
disk either. Although it is unwise to compare studio and
live recordings, here it is striking to note the different
approach between quintet and duo. Betz’ guitar provides
the perfect orchestration for this less-familiar side of
DiBlasio. When he bops hard on the baritone there is great
resonance and edge to his sound. DiBlasio’s baritone
sax here is mellow and tender. Shades of Mulligan creep
in here and there until he barks out a low note or two
reminding the listener that he can go into overdrive at
anytime. The more-familiar sound of flute and guitar are
highlighted on two separate takes of Yes In Deedy, dedicated
to Philadelphian Harrison Ridley, Jr. Lastly, what guitar
and flute duo would be complete without a Jobim tune? The
duo plays a noteworthy tribute to Antonio Carlos Jobim
on No More Blues.
Denis DiBlasio has long been known for his hard-edged
baritone, scat vocals and solo flute demonstrations on
the college circuit. He is a mainstay in music education
in New Jersey and across the US. It is a pleasure to hear
him side-by-side with colleagues and former students -
laying it down!
Skip Spratt
SaxShed.com
Tipbook – The Complete Guide for Saxophone
By Hugo Pinksterboer
2/24/08
The Tipbook Company and Hal Leonard Publishing have released
several comprehensive resources for the modern musician. Tipbook
Saxophone by Hugo Pinksterboer labels itself, “The
best guide to your instrument!” It certainly is a
valuable resource, particularly for the student looking
for common information that cannot wait until the next
saxophone lesson.
At a glance, Tipbook Saxophone looks well laid
out, attractive and comprehensive with 222 pages. Upon
closer inspection, I found the book to be filled with hundreds
of helpful tips (no pun intended) and bits of information.
Fingering charts, pictures and diagrams of the instrument
and parts make this an easy to understand text.
One cool feature for those who enjoy the internet is the
interactive component to this Tipbook series.
Within the book (and further outlined on p. 176) there
are “tipcodes” for further information. Videos,
animations and diagrams can be accessed at tipcode.com
by entering the supplied code.
After reading through much of this 3rd edition of Tipbook
Saxophone, I was amazed by the cross-section of
information covered within this one book. There is even
a note in the forward asking, “Anything missing?” A
link to contact them is provided to report anything they
have missed. Despite the wealth of information included
here, breathing, diaphragm, breath support and air were
tough to find. A search through the glossary and index
provided no results either. I did use the link and sent
an email asking if I had overlooked this information
within the book. If it is not included here you can be
sure to find it in the next edition. Congratulations
to The Tipbook Company for working to constantly improve
their products.
So in the end, if you are looking to find out more about
anything saxophone, Tipbook Saxophone is a GREAT
place to start. This resource, along with a good private
instructor should help any player further their knowledge
of the instrument and its intimate workings.
Skip Spratt
SaxShed.com
Mark Hollingsworth - Chasing the Sun
Chicago native, Berklee graduate and Los Angeles-based
saxophonist Mark Hollingsworth has released his newest
Cd Chasing the Sun on his own Windshore label.
This newest offering features 14 selections of various
styles yet all have close ties to Contemporary and Smooth
Jazz.
First of all I must say that I have known Mark Hollingsworth
since our days together at Berklee College of Music in
Boston. He and I started on the same path some 25 years
ago. His journey took him to L.A. and mine to Atlantic
City and Philadelphia. We have stayed in touch these many
years and even reunited while he was on tour with Tom Jones
in Atlantic City. It is a pleasure to hear him continuing
to offer new music on this Cd, Chasing the Sun.
The opening track Spirit of Adventure begins
with a deceptive world music feel set up by the introduction.
It quickly morphs into a furious tenor sax and bass riff
reminiscent of both Weather Report and Steps Ahead. Just
as the listener thinks he has an idea where things are
headed the tune shifts one more time into what is a more
traditional-sounding Smooth Jazz groove. Hollingsworth
has you guessing right from the beginning on this musical
journey.
It appears this kind of musical schizophrenia is by design
according to Hollingsworth himself. In the liner notes
he writes, “Chasing the Sun is an adventure
embracing the spirit of exploration…There will be
things familiar, but perhaps with a twist…”
As the Cd continues with Open Throttle, Hollingsworth
and band mates stretch out a bit on the bluesy romp featuring
tenor and guitar solos backed by some slick horn parts.
It is clear on this cut that Mark has listened to a few
Tom Scott records over the years.
Although the first two tracks are well done and representative
of Hollingsworth’s talents, the Cd really hits its
stride with tracks 3, 4 and 5. Tropic Breeze is
a beautiful, flowing tune that should bring a smile to
your face. This is a wonderful example of Hollingsworth’s
tenor playing and even more so his compositional skills.
The overdubbed woodwinds add a nice touch among this pretty
straightforward foot tapper. Very nice job Mr. Hollingsworth.
Spice of Life breaks out right into some New
Orleans style funk and I can only imagine the title refers
to the spicy Creole and Cajun cooking New Orleans is most
famous. The tune always hints at the original feel set
up in the intro but cascades into a more contemporary jazz
funk at times. Hollingsworth has the last word on this
one as he shows off his R & B chops on the ending vamp.
Doing My Own Thing features Hollingsworth all
by himself on the alto, tenor and baritone saxophones.
The playing is funky, percussive and tight. This is definitely
one for the sax players out there.
The title cut once again shows off the compositional talents
of Mark Hollingsworth. As a saxophonist I can appreciate
Mark’s tone. As a layperson I can just enjoy the
music. This is definitely one of the album’s highlights
for me.
Higher Plane, High Velocity, Crawfish Pie and Sambarosa coaxes
us through the middle of our Cd journey. At every turn
in the road the ensemble provides a solid foundation for
Hollingsworth’s saxophones and woodwinds. Crawfish
Pie brings out a bit of the New Orleans again. Hollingsworth
shows he has formidable clarinet skills on this one. I
wish he had let us in on that secret before track 10! Flute
takes the lead on Sambarosa and Mark shows he
is a wonderful flautist in addition to playing saxophone
and clarinet.
The journey nears the end with the world music influenced Stowaway, sensuous
bass and sax duo Undercurrents andAfro-Cubin tinged Darwin’s
Voyage. It’s worth mentioning that Mark Hollingsworth
breaks out the soprano as the lead voice only for this
last tune.
All in all there is A LOT of music to digest on this Cd.
By Hollingsworth’s own admission, he has programmed
an album that may be difficult to categorize. Despite it’s
musical schizophrenia Chasing the Sun rises to
the occasion. There is something for everyone – and
particularly those who are fond of top-notch saxophone
and woodwind playing.
With over 70 minutes of music and 14 tracks there is something
for everyone on Mark Hollingsworth’s Chasing
the Sun. You can find out more about Mark and order
this Cd by visiting markhollingsworth.com
ss
Michael Pedicin Quintet - Everything Starts Now
 Veteran saxophonist Michael Pedicin has released his newest
offering on The Jazz Hut label, Everything Starts Now. Pedicin
has had multiple releases under his own name and has enjoyed
associations with Dave Brubeck and Maynard Fergusson over
the years. The acoustic quintet here documented 10 tunes
for this straight-ahead album rooted in the traditional
sounds of classic Blue Note, Prestige and ECM recordings.
The very capable quartet backing Pedicin features fellow
Philadelphians Chris Colangelo on acoustic bass and Mick
Rossi on piano. Michael Sarin on drums and composer/guitarist
Johnnie Valentino round out the ensemble. I’ve had
the pleasure of working with Mike Pedicin, Mick Rossi and
Chris Colangelo when they all lived and worked in Atlantic
City. They are among the finest musicians I’ve had
the pleasure to work with and it is a pleasure to listen
to them play together after a separation of many years.
The opening track, Pelican beckons the listener
with a subdued start reminiscent of that popular ECM sound
of the 70s and early 80s. Pedicin’s sound is his
own but the tenor sings ala Jan Garbarek at times. Not
a bad start at all to this record!
This Way Out, the second track on the Cd begins
with some nice interplay in the quintet let by Pedicin
and Valentino. Colangelo’s bass sound is a big as
a house. Chris always has had a great sound on both electric
and acoustic bass. The Latin groove builds with Mike Pedicin
taking the first chorus, followed by Colangelo on bass.
It’s refreshing to hear the bass solo mid-tune, rather
than after everyone else has had his turn. Rossi then takes
his turn with a sparse, punctuated solo exemplifying his
ability to think and play out of the box. The final statement
in this piece breaks down into a free-sounding exchange
between all but the bass.
L.A. to Philly begins with Colangelo’s
bass, again big as a house. The melody swings along with
brief melodic tantrums inserted by the unison tenor and
guitar line. The solos are more adventurous here. The quintet
weaves in and out from the traditional to the almost avant-guard.
This is not a “free” recording however the
sensibilities of the ensemble seem to lean this way at
times. As in This Way Out, the ensemble picks
and prods each other to push the boundaries on the final
vamp – This time Colangelo joins in.
The anthem One of Us, the only non-Valentino
compositionbrings one of the sweetest and calming moments
on Everything Starts Now. Mick Rossi shows a much
more lyrical side here.
Track 5 entitled Contours takes off with a militant
snare and bass drum duo followed by the tenor and guitar
statement. Valentino, Rossi and Pedicin follow suit with
solos. After the Rainbow is Over showcases Rossi’s
formidable talents with his piano interlude. The contrapuntal
interlude blooms into the final statement by the ensemble.
The ending vamp here concludes with the ensemble coaxing
each other out of the harmonic comfort zone.
Concatenation is a playful Monkish head followed
by the tender and pensive ballad Another Day.
Everything Starts Now offers its last surge of
energy on the angry swinger Later. PianistRossi
and drummer Michael Sarin shine toward the end as the musical
sparring session turns to drum solo. The haunting title
cut leaves the listener with Pedicin’s waning tenor
sound ringing last. A very fitting end to this musical
journey entitled Everything Starts Now.
It’s interesting to note the influences in Michael
Pedicin’s tenor playing throughout this recording.
Mike is a veteran. He’s not a newcomer. At times
I hear shades of Sonny, Jan, and the whole post-Coltrane
thing. There are times when his tone seems closer to Lovano’s
than the previous mentioned influences. What is certain
is those years of listening, playing and absorbing the
jazz culture has seen Mike transform into and artist with
many influences and complex musical sides.
You can find out more about Michael Pedicin and his recordings
at www.michaelpedicin.com
ss
Anibal Rojas - ah-knee-ball
 A mutual friend introduced me to the music of Anibal Rojas
(ah-knee-ball) some months ago. He has a stunning clip
of Body and Soul on Youtube. I remember wondering what
he was up to now after checking out that performance clip.
He’s up to plenty!
Rojas’ self-titled release features his pure tenor
sound, world percussion and ethnic flutes. It would be
hard to deny the huge influence Michael Brecker has had
on this younger player. Despite the obvious Brecker influence,
Anibal has created enticing tracks on this Cd, which are
a perfect bed for his wonderful tenor sound. The influences
are there however he does have his own twist on this popular
school of playing – one close to my own heart.
The native Chilean turned Philadelphian - by way of Middle
America - has a unique sensibility as evidenced in the
opening track Los Andes, Part 1. His tenor soars
over the percolating drums and percussion almost to the
final cadence where the sound of ethnic flutes finishes
the statement.
The second Cd track Tano’s Tuto, written
for his son, showcases a mellower yet still driving side
of Rojas’ tenor playing. About two minutes into the
track the song takes a refreshing twist with Latin percussion
break and bass solo interlude. Then it’s back to
business as usual on this free flowing but unassuming melody.
I was a little surprised by the distorted guitar solo toward
the end of this recording. The element of surprise is something
Anibal Rojas uses to his advantage throughout this record.
In the end it works.
Le Montrose is full of surprises right from the
beginning. The exotic sounds in the intro lead the listener
to believe we’re in for something completely different
than what follows – a funky smooth jazz jam. I found
myself rocking in my chair while tapping my foot to this
one – really just a great groove for Anibal to blow
over. Just when I forgot the deceptive introduction the
exotic world music sounds return briefly before the funky
smooth jazz returns. There may be two different tunes going
on here. I like them both.
I Carry You Heart, written for his wife, is a
tender, contemporary ballad. It moves along rather as one
might expect with the exception of some lyrical flutes
and voices behind Rojas’ lush tenor sound. Anibal
Rojas can burn on the tenor but here he lets his sound
speak more than his technique.
Walking, Stellaluna and the more traditional
Latin Live Crickets provide the listener with
a more comprehensive look and listen to Anibal Rojas musicianship.
As the liner notes indicate, Rojas is a family man. He
has penned songs for several family members on this release
under his own name. Lay Down is dedicated to his
mother. He writes, “A song about peace for my mother.” The
song is hypnotizing with the sounds of quenas, quenacho,
ocarina and acoustic guitar.
Just when you think you have a pretty good idea of what
Anibal Rojas has up his musical sleeve he surprises you
once again with The Midnight Zone. The sound of
the EWI teases with shades of Brecker – how can it
not? Rojas shows he has command of this instrument as well.
The final track Los Andes, Part 2 really sums
up the experiences on this musical journey entitled ah-knee-ball.
Now we can hear another voice from Rojas, this time the
soprano sax.
Lastly, Anibal pays homage to likely his biggest influence,
Michael Brecker on the bonus track Missing Brecker. The
piano and tenor duo features Barry Sames underscoring Rojas’ mournful
subtone. There are Mikisms (is that a word?) sprinkled
throughout and a fitting tribute to the legendary tenor
man now gone.
Anibal Rojas has put together a world class, world music
influenced Cd with ah-knee-ball. He clearly demonstrates
that he has many diverse voices all within this one musician’s
soul.
You can find out more about Anibal Rojas and his recordings
at anibalrojas.com
ss
Frank Macchia – Three new Cds
 Multi-instrumentalist and master of self-promotion, Frank
Macchia has been very busy. Since moving to L.A. 16 years
ago, Macchia has been weaving his way into the inner fabric
of the Los Angeles music scene. The San Francisco native
and Berklee graduate has been busy in the studios, writing
and arranging for feature films such as Superman Returns,
The Fantastic Four, Austin Powers:Goldmember, Santa Clause
2, and television shows Nickelodeon's Oh Yeah Cartoons,
Disney's Oliver Twist, and the Tonight Show.
An adept composer and instrumentalist, Frank Macchia has
penned compositions on at least 3 stellar releases. Animals,
Mo Animals, and Emotions all feature Macchia
alongside some of the biggest names in the business. Guitarist
Grant Geissman, Drummer Vinnie Colaiuta and trumpet phenom
Wayne Bergeron all add significant contributions to Macchia’s
compositions. The writing is dense and intellectual at
times but always accessible.
Animals begins with the soothing Dolphins followed
by the funky Kangaroos. This is a great feature
for trombone master Bruce Fowler. The Cd features soundscapes
conjuring up images of Tigers, Gorillas, Jaguars, Camels
Hippos, Snakes, Alligators and Vultures. This
Cd is full of thought-provoking music that simply grooves!
The final track, Lone Wolf, features Franck
Macchia on tenor sax however his real voice is in the writing
and playing behind the tenor. Macchia accompanies himself
on Piccolo, Flute, Wood Flute, Alto Flute, Bass Flute,
Clarinet, Alto Clarinet, Bass Clarinet, Contra Bass Clarinet,
Soprano Sax, Baritone Sax and Ethnic Flutes – that’s
a mouthful!
Mo’ Animals features many of the same very
capable instrumentalists as Animals. The opening
tune, Hummingbirds is a playful yet aggressive
samba featuring Billy Childs on piano, Howard Levy on harmonica
and Frank on saxophone. The background writing behind Childs’ piano
adds the perfect compliment to the lively solo.
Monkeys takes off with an infectious Afro-Cuban
groove which sets the stage for the ethnic infused sound
of the saxophone and Synth Accordion – definitely
an acquired taste.
There is a fair amount of humor injected into this offering
from Frank Macchia. You can’t listen to Pigs without
a smile coming to your face. I even found myself laughing
out loud at the sub-base sounds of contrabass clarinet
and bass trombone. It truly is the strangest sound, especially
when treated as a solo instrument – strange, yet
cool all the same.
Frank Macchia possesses the ability to think out of the
box. His ability to write and score for this band of misfit
instruments allows his creativity and passion for his music
to rise above the mundane. As odd sounding as Pigs may
be to some ears, Bats is just gorgeous. The woodwind
harmonies are very dense but recorded in a balance that
once again compliments the intriguing writing here.
The sounds of Frogs, Whales, Elephants, Chickens,
Rhinos and Lions all come to life with
the rest of these quirky and sophisticated compositions
by Frank Macchia. Each tune truly captures the essence
of the named animal in the composition. This is a talent
Macchia has often channeled for television and film and
is quite apparent here as well.
Lastly, Emotions, the third in this trio of albums
reviewed here uncovers a much different side of Frank Macchia.
His sound on tenor is fat and lush as heard in the opening
subtoned statement. The strings intentionally harkens remembrances
of the old Stan Getz
string recordings penned by Eddie Sauter. It’s truly
remarkable to think the same soul has produced music here
and on Animals.
This ambitious collection of pieces featuring The Prague
Orchestra features the angry, hopeful, sorrowful and joyous
sides of Frank Macchia. Some of the tracks are more attractive
than others to these ears. I particularly enjoyed the rhythmic
playfulness of the Italian inspired Bluesentella. Elsewhere
on Emotions it is the hypnotic sound of balladeer
Macchia which is carried to greater heights by this fantastic
orchestra.
My thanks go out to Frank Macchia for providing these
three stunning Cds. His talents as multi-instrumentalist,
composer, arranger and score writing come across loud and
clear on Animals, Mo’ Animals and Emotions.
You can find out more about Frank Macchia and his Cds at
frankmacchia.net
ss
Steve Neff - Mastering the Dominant Bebop Scale
 Saxophonist and teacher Steve Neff operates NeffMusic.com
and a very busy private teaching studio not far from the
Metro Boston area. The Syracuse native began his saxophone
study at Ithaca College in New York. After a few semesters
at Ithaca, Neff transferred to Berklee College of Music
in Boston. He has been in that area ever since.
NeffMusic.com offers a great service to saxophonists everywhere
with his patterns and exercises for download as well as
some great comparison clips of vintage mouthpieces. Listening
to these very clips is how I found out more about Steve
Neff and his books. The site is attractive and easy to
navigate in addition to sharing a wealth of information
for budding saxophonists.
Mastering the Dominant Bebop Scale is one of
several downloadable lesson books Neff offers on his site.
In addition to the written book, some audio clips are available
as well. Steve is very prolific. I have a couple of his
books and they will keep me busy for quite some time.
Online lessons are available to all who visit Steve’s
site and he provides a password-protected area for his
private students in his area. Next time you have a chance,
check out more about Steve Neff, his playing, teaching,
downloadable books and mouthpiece clips at neffmusic.com.
You’ll be glad you did.
ss
Bob Mintzer - In The
Moment
Bob Mintzer is one of the premier tenor saxophonists
of our time. His release on Art of Life Records is a
testament to that fact.
In the Moment is a traditional-sounding, straight-ahead
jazz quartet album, recorded at beautiful BiCoastal Music
in Ossining, NY on December 16, 2004. The first cut, Straight
Ahead is a hard swinging tune, just as the name
implies. Mintzer is fast out of the blocks and does not
disappoint with his signature post-Coltrane tenor sound.
The second cut is a grooving Listen Here, originally
made famous by Eddie Harris. The opening theme showcases
both Minzter’s bass clarinet and tenor – a
very cool sound indeed.
Time After Time, the often-played standard
by Styne & Cahn, is fresh and full of play here.
It’s a real treat to hear Bob Mintzer in this quartet
setting - playing standards. This is something I have
not tuned in to since wearing out my copy of Twin
Tenors, which featured Mintzer and the late Michael
Brecker – another “must have” in the
collection of all modern tenor players.
The Cd hits its stride with the Afro-Cuban influenced Aha, and
the subtle and pretty Simple Song. What’s the
Word, played on bass clarinet here is recognizable
from his popular Etude series. Originally played on tenor
sax, it’s always nice to hear Mintzer stretch out
on bass clarinet, his second voice.
Play Pretty, Blues and Forgiveness round out
this very listenable offering from the Bob Mintzer Quartet.
The entire Cd is easy on the ears - beautifully executed
and recorded.
The Bob Mintzer Quartet Cd In the Moment shows
yet another side of the gifted tenor saxophonist, bass
clarinetist, composer, arranger and educator.
The trio of Jay Anderson, Phil Markowitz and long-time
collaborator John Riley should not go unmentioned. They
provide a harmonic and rhythmic foundation, which allows
Mintzer to rise above the section and beyond.
In short, I thoroughly enjoyed checking out this release
from tenor saxman Bob Mintzer. I look forward to listening
to it many more times. There are always treasures to
find after the first listening. You will most certainly
enjoy it as well.
You can find out more at BobMintzer.com
Skip Spratt
SaxShed.com
5/23/07
Blues Saxophone, Jazz Saxophone and
Amazing
Phrasing by Dennis Taylor
  Nashville resident and New England born saxophonist
Dennis Taylor currently has three publications out through
Hal Leonard Publishing. The three books include an in-depth
look at Blues playing, Jazz playing and Phrasing.
Blues Saxophone highlights the styles of 18
saxophone artists such as King Curtis, Stanley Turrentine
and Eddie “Lockjaw” Davis. Photos and biographical
information are included for each artist along with a
demonstration cd recording of Dennis Taylor’s written
solo. The solos are intended to closely shadow what the
original artist would have played. It is obvious that
Mr. Taylor has made an exhaustive effort in demonstrating
all these many varied styles.
Jazz Saxophone highlights the styles of 16
saxophone artists. The book starts with the legendary
styles of Lester Young, Coleman Hawkins and Ben Webster,
then progresses to the more modern offerings of plalyers
like Joe Henderson and George Coleman. Photos and biographical
information are included for each artist along with a
demonstration cd recording of Dennis Taylor’s written
solo. Like his bood Blues Saxophone, the solos
here are intended to closely shadow what the original
artist would have played.
Amazing Phrasing is subtitled “50 ways
to improve your improvisational skills.” The book
is broken down into the three basic components of harmony,
melody and rhythm.
There is an abundance of information, history, patterns
and theory offered here. The book could be used by itself
as a great introduction to jazz theory and harmony or
as a supplement to another course of study. Whatever
the case, any player can find hours of patterns to practice
along with the acommaniment cd.
These three books by Dennis Taylor represent a lifetime
of research, study and listening. I compliment Mr. Taylor
on taking the time to sift through all the information
and offer it in a helpful, informative and digestible
presentation. For me, the books have been most useful
for sight-reading with students and as solo etudes to
be worked on for the next lesson. In the absence of a
qualified teacher these books are complete with the recorded
demonstrations.
Whether you are looking for a new approach to studying
these three elements or just looking to add to your studio
library, these books by Dennis Taylor are worth checking
out.
Skip Spratt
SaxShed.com
You can find out more about Dennis Taylor and his publications
at Amazon:
Andrew Neu – In Clear View
Andrew Neu, longtime smooth jazz favorite in Philadelphia
has released his newest Cd entitled In Clear View.
His latest independent release boasts the addition of Jeff
Lorber, Brian Bromberg, Dave Weckl, Vinnie Colaiuta, Doc
Gibbs, Kevin Toney and Gerald Veasley. With such fine additions
to the sound of this talented saxophonist, this Cd is bound
to make some noise.
A native and resident of Philadelphia, Andrew Neu has
been gradually and steadily building a respectable name
for himself since the early 90s. I have witnessed his growth
and maturity as both a person and musician over the past
decade or so. We first met at the University of the Arts
around 1989. Although he was a student at Temple University,
Andrew came down Broad Street to UArts to fill out the
sax section. At the time, he was a student of Marshall
Taylor and hadn’t played a lot of jazz. He was a
very capable saxophonist but hadn’t done a lot of
improvisation. All that has changed greatly.
It is clear that Andrew Neu has a firm grasp of the saxophone
styling driving the adult contemporary music of today.
It is worthy to note that the production on this release
is exceptional as well. In Clear View is definitely
one to put on as you’re driving down the road or
hopping on the treadmill. The influences heard on this
Cd are varied. Intentional or not, I heard shades of Dave
Koz, Spyro Gyra, Steve Cole and other legendary smooth
jazz artists. That is a true compliment.
The “best bang for the buck award” goes to In
Clear View for packing in a whopping 15 tracks for
smooth jazz fans. The opening track is a cover of the
dance tune Celebration, where Andrew Neu’s
alto sound is full of sparkle and warmth. Later on Neu
covers Lionel Ritchie’s You Are and Dennis
DeYoung&rs | 
