2 Sem 2017 - Part Four

Barbara Carroll

Sentimental Mood



By Oldnslowon 
Barbara Carroll remains at the top of her game at age 80. This wonderful program of standards shows her at her swinging best. If her voice has lost a little of its bloom (she sings, or rather speaks, on a couple of numbers) her fingers certainly have not. Very few jazz pianists get a truly individual sound from the piano, but Carroll's full , two handed style is unique, and has been for decades. Her octave runs are instantly recognizable. An excellent rhythm section and the usual fine sound from Venus make this a winner. Barbara Carroll is an American treasure.
Tracks:
1. Lady Be Good; 2. Autumn in New York; 3. You'd Be So Nice to Come Home to
4. Here's That Rainy Day; 5. Fly Me to the Moon; 6. Last Night When We Were Young
7. On a Clear Day; 8. My Funny Valentine; 9. In a Sentimental Mood
10. Yesterdays; 11. I Guess I'll Have to Change My Plans; 12. As Long As I Live

Renee Rosnes
Written In The Rocks



By C. Andrew Hovan 
Always a major talent who has transcended the hokum that usually accompanies the precept of women jazz musicians, pianist Renee Rosnes offers a mature and individualistic touch that has been recorded on far too few occasions over the years. In fact, prior to this fabulous session, Rosnes' last U.S. release was a 2010 duo set with husband Bill Charlap on Blue Note. Around the same time she gathered together Steve Nelson, Peter Washington, and Bill Stewart for the Japanese only session Manhattan Rain. Even though some five years have passed, there must have been something about that ensemble that struck a chord with Rosnes, the quartet gathering together again with saxophonist Steve Wilson added for further good measure.
The centerpiece of this set are the seven pieces that make up the 45-minute "Galapagos Suite," penned by Rosnes herself. Touching on historic text and various theories, the idea was to compose music that represents the evolution of the planet Earth. Though this probably sounds like some heady, programmatic material for a grant or other educational purpose, nothing could be farther from the truth in application. Rosnes sets a mood with each piece that suits the overarching premise, yet each piece functions equally fine on its own.
"The KT Boundary" finds Stewart's colorful cymbal splashes setting the mood alongside some thick chordal work by Nelson in tandem with Wilson's soprano sax. Over the course of the next two pieces, Wilson adds his flute to the mix and the results are bright and optimistic. "So Simple a Beginning" recalls Ron Carter's "Little Waltz" with its lilting melody and ¾ meter. Some heat comes in the form of "Deep in the Blue" where Nelson steals the show with one of his typically fluid statements, only then to be matched for intensity by Washington's solo statement.
The Suite wraps up with "Cambrian Explosion," the most programmatic of the bunch, replete with rumbling bass and collective improvisation that recalls the budding of new life back some 600 million years ago. And if the preceding hadn't been fodder enough, Rosnes augments the program with two more trinkets. "From Here to a Star" is a medium tempo blowing vehicle based on the chord changes of "How Deep Is the Ocean?," while "Goodbye Mumbai" serves as a frisky send off.
This would be quite a different recording had Rosnes hired someone else to fill the drum chair. Stewart seems especially attuned to the purposes of the pianist's originals. He relies less on typical patterns and riffs and more on spontaneous interaction with his musical compadres. Like Rosnes, Nelson is criminally underrated and his appearance here is a major coup. The whole being greater than the sum of its parts, this unit gels with the common purpose of putting Rosnes' work into the best possible light. They wholeheartedly succeed.
Track Listing: 

The Galapagos Suite: The KT Boundary; Galapagos; So Simple a Beginning; Lucy from Afar; Written in the Rocks; Deep in the Blue (Tiktaalik); Cambrian Explosion; From Here to a Star; Goodbye Mumbai.
Personnel: 

Renee Rosnes: piano; Steve Wilson: saxophone and flute; Steve Nelson: vibraphone; Peter Washington: bass; Bill Stewart: drums.

Simone

Moonlight Serenade




1. Tea For Two《 I. Caesar – V. Youmans 》(5:51); 2. Fragile《 Sting 》(4:50)
3. L-O-V-E《 B. Kaempfert 》(3:39); 4. For No One《 J. Lennon, P McCortney 》(3:43)
5. Save your love for me 《 B. Johnson 》(5:04); 

6. I’ve grown accustomed to his face 《 A. Jay Lerner – F. Loewe 》(6:01)
7. I’m through with love 《 G. Kahn – M. Malneck, H. Carmichael 》(4:00)
8. Autumn Leaves《 J. Mercer, J. Kosma 》(4:15); 

9. What a diff’rence a day made 《 S. Adams, M. Grever 》(4:15)
10. The nearness of you 《 N. Washington – H. Carmichael 》(5:27)
11. Besame Mucho《 C. Velazquez 》(5:04)

12. Like someone in love 《 J. Burke – J. Van Heusen 》(4:08)
13. Peace《 H. Silver 》(4:19)
14. Moonlight Serenade 《 M. Parish – G. Miller 》(6:03)
15. Stompin’ at the Savoy 《 A. Razaf – B. Goodman, C. Webb, E. Sampson 》(3:26)

Clare Fischer Latin Jazz
Intenso!




By Roger Farbey 
What better way to pay tribute to your father than, over the course of several years, painstakingly capturing his keyboard playing (and sometimes singing) and at a later date adding superb big band arrangements? Bandleader and keyboardist Clare Fischer died in 2012 aged 83 but left a legacy of work that his son, bandleader and bassist Brent Fischer, has faithfully recorded, using his father's archived keyboard playing on most, but not all, of the tracks. Brent Fischer did a similar legacy job using his late father's compositions and keyboard work on the 2014 release Pacific Jazz.
The opener, Dizzy Gillespie's "Algo Bueno (Something Good)" also known as "Woody 'n'You" is an upbeat piece alternating between an Afro-Cuba 6/8 and a Mambo. "Gaviota (Seagull)" by Clare Fischer with lyrics by Weaver Copeland, features the inestimable vocal talent of Roberta Gambarini who delivers an enticing scat solo into the bargain. Duke Ellington's "Rockin' In Rhythm" is given a sophisticated big band makeover successfully adding to the piquancy of the original.
Clare Fischer's vibrant "Solar Patrol" features Sheila Escovedo (also known as Sheila E) on timbales. Also by Clare Fischer with lyrics penned by Darlene Koldenhoven, "The Butterfly Samba" again features Roberta Gambarini exuberantly duetting with Scott Whitfield, who also contributes brief bursts of trombone soloing too.
Another Clare Fischer number, the ambitious and immensely satisfying "Renacimiento," represents a slight departure from the other pieces in that it opens in a neo-classical vein and transmutes into a kind of blues adorned with a highly imaginative, tonally colourfully arrangement utilising a wide range of instrumentation.
On "O Canto," again composed by Clare Fischer, Carl Saunders turns in a terrific trumpet solo and Clare Fischer is heard scat singing along to his keyboard playing. "Tres Palabras," written by the Cuban composer Osvaldo Farrés, has a bossa nova feel to it, not unlike Jobim's classic "Insensatez," but with an extra warmth imbued to it by the horns. The lively finale, "Play Time (A Gozar)" is both the last track recorded by Fischer Senior and the first time it's appeared on an album, with Francisco Torres here soloing on trombone.
Herbie Hancock has famously spoken of his indebtedness to Clare Fischer as a major influence on him and judging by this excellent album it's not surprising. This meticulously crafted album is simply a must for all big band fans.
Track Listing: 

Algo Bueno; Gaviota; Rockin’ In Rhythm; Solar Patrol; The Butterfly Samba; Renacimiento; O Canto; La Mucura; Tres Palabras; Play Time.
Personnel: 

Clare Fischer: keyboards; Brent Fischer: percussion, electric bass, “guitar” sounding parts; Alex Budman: soprano & alto sax, flute, piccolo, clarinet; Kirsten Edkins: soprano & alto sax, flute, clarinet; Don Shelton: soprano sax, flute; Brian Clancy: tenor sax, flute, alto flute, clarinet, recorder; Sean Franz: tenor sax, flute, clarinet, bass clarinet, recorder; Rob Hardt: tenor sax, flute, alto flute, clarinet; Lee Callet: baritone sax, flute, alto flute, clarinet, recorder; Bob Carr: bass sax, flute, piccolo, Eb contrabass clarinet; Carl Saunder, Ron Stout, Rob Schaer, James Blackwell, Brian Mantz, Michael Stever, Anthony Bonsera: trumpet; Scott Whitfield, Francisco Torres, Philip Menchaca, Jacques Voyement: trombone; Steve Hughes: bass trombone; Quinn Johnson: keyboards (tracks 4,5,6); Ron Manaog: drums (tracks 5 & 6); Ken Wild: electric bass (tracks 5 & 6); Luis Conte, Kevin Ricard: percussion; plus Sheila E: timbales (on track 4); Robert Gambarini: vocals (tracks 2 & 5); Scott Whitfield: vocals (track 5); Walfredo Reyes: drums (track 10); Tris Imboden: drums (track 4).


Cheryl Fisher
Quietly There



By OA2 Records
For her sixth CD, Canadian vocalist Cheryl Fisher has recorded an album unique in both its repertoire and her approach. Purposefully chosen to be on the quieter side, Fisher puts a personal stamp on these beautiful, rarely heard songs, applying her musicianship and gift for vocal interpretation in celebration of love, or the mourning of love lost. Although they come from the era of the Great American Songbook, Fisher has given them a modern jazz treatment with the brilliant accompaniment of pianist/arranger John Toomey, the singular Portland guitarist John Stowell, the bass & drum team of Jeff Johnson & John Bishop, and acclaimed woodwind artist Eric Allison. "Concept albums aren't what I usually do, but sometimes you just want to sit by the fireplace, have a glass of wine, put on an album and let it play right through, letting its mellow mood merge with your own."
Tracks:

1 Quietly There 5:30; 2 Let There Be Love 3:35; 3 It Amazes Me 4:19
4 Flowers In The Sink 4:28; 5 I Never Went Away 4:12; 6 You're Looking At Me 3:46
7 He Never Mentioned Love 5:05; 8 You Go To My Head 5:00
9 Some Other Time 5:28; 10 You Taught My Heart To Sing 3:46
11 I'm In Love Again 3:42; 12 Here's To Life 5:08
Personnel:
CHERYL FISHER - vocals; ERIC ALLISON - woodwinds ; JOHN TOOMEY - piano, keyboards
JOHN STOWELL - guitars; JEFF JOHNSON - bass; JOHN BISHOP - drums
BURNIS STUBBS - percussion; BOB TILDESLEY - trumpet & flugelhorn