Professional press reviews as well as Customer/Jazz Fan Reviews
(Sound bytes are available by clicking at the end of the review)
Click on a link for a specific review.
Aftermath , See You At
The Bridge, Blood Sweat and Bebop, Explosion,
Dawn of a New Day, Still Swingin',
Live at the Detroit Jazz Festival,
James Silberstein-"Song for Micaela", Mark Sherman-
"The Motive Series", Mike Longo-"Oasis",
Jody Sandhaus- "A Fine Spring Morning, Mike
Longo Trio- Float Like A Butterfly
EJAZZ
CD Review/Mike Longo/''Float Like A Butterfly''/CAP1006
Reviews John Gilbert
Mike Longo, piano
Jimmy Wormworth, drums
Paul West, bass
It seems like ages since I've gotten a true jazz recording. This one is
a joy to listen to and you can take it to the musical bank of your
choice. Mike Longo, influenced by Dizzy and Oscar Peterson, with whom he
studied, is true to the art form and then some. Swing is prevalent, his
ideas flow and his sense of melody and rhythm are magical.
"Tenderly" was one of Charlie Parker's favorite tunes and Longo and
company give this chestnut new and delightful meaning with their
interpretive powers. Wormworth's drums are right on timewise with no
extraneous clutter, just a perfect adjunct to Longo's brilliant solo.
Paul West's bass lines add much to the overall effect.
Toes will tap and smiles will appear upon listening to "It Could Happen
To You" Magical changes are throughout Longo's message. He gets over
this tune with a supple as silk approach. A solid bass solo is as hip
as it gets.
The haunting melody of "Laura" is painted on a palette of musical
colors
by Longo that display his talents beatifully.
"Here Tiz" Mr. Gillespie is paid tribute to by this fine trio in a
style
that would make angels cry with joy...
This record is like finding a gold piece in the jazz marketplace. It
gets no better.
5 Stars
EJAZZ
CD Review/Mike Longo/''Oasis''/CAP982
Oh Yeah........Mike Longo & his big band will hit you right where it
counts with his dynamic, & I mean a dynamic vocal big band CD
project. I'm particularly moved, in that I too have a fine big band
& know what Mike has taken on. So, I look to Mike as a soul-mate within
the
big band idiom. Kudos must resound to Mike regarding his prowess @ composing
&
arranging. His arrangement of Gershwin's eternal missive, ''Love Walked In''
was ''right
in your face'' perfect for their fine vocalist Hilary Gardner to lilt upon.
(Note: I hate to sound so mercenary Mike, but if you're willing to send me a
copy of that chart, I'm honored to play it in my big band.)
This is a band with a flawless sense of crescendo & decrescendo.......Their
unison work: In a word, impeccable! This is a vigorous pro-active group with
an
inventive, virtuosic, technique. They play with an energy that could be
classified as unpredictable, but they perform their work with an astounding
&
consistent high level of artistic intensity. They are definitely going to be
heard
from for awhile..............At least this writer hopes so!!
PS: If they ever need a ''cameo'' vocalist, I'm up for the challenge.
George W. Carroll/The Musicians' Ombudsman
Mike Longo's New York State of the Art Jazz Ensemble
| CAP
The golden age of big bands ebbed long ago and the economics and logistics of
maintaining large groups in today's music climate make a comeback unlikely.
Despite these difficulties, there are champions of the big band—those
who don't assemble all-star groupings merely for one-offs, but develop their
music with a stable band.
One such standard bearer, pianist Mike Longo, leads his seventeen-piece New
York State of the Art Jazz Ensemble on their third CD, Oasis . Working with
four trumpets, four trombones, five saxophones, guitar, bass, drums, piano,
and guest vocals on originals and standards, Longo may not reinvent big band
music, but he rejuvenates it with contemporary touches and trim, unpredictable
arrangements that spark enthusiastic performances.
A trio of Longo compositions opens the set, establishing the tone with tightly
woven ensemble playing and surprise sonic elements, such as Matt Snyder's bass
clarinet solo and trombonist Sam Burtis' nod to Monk on “Bag of Bones.”
With taut arrangements clocking in under eight minutes, there's not a parade
of soloists on each piece; instead, the few soloists make their points quickly
and succinctly, enlivening the tunes and avoiding repetition. Bassist Santi
Debriano puts his melodious stamp on the episodic “Chanson,” while
tenor saxophonist Frank Perowsky punctuates the measured blues of “Mike's
Lament” and the briskly paced ”Infusion,” with its advanced
harmonic schemes.
Other modernist influences are displayed in “The Godfather,” inspired
by the legendary James Brown and featuring a dynamic turn by guitarist Adam
Rafferty. Even classic standards are refreshed, using clever rhythmic variations—a
salsa beat for “Alone Together” and a bossa nova groove on “The
Night We Called It a Day,” also boasting Hilary Gardner's breezy vocals
for additional sheen.
The results on Oasis are satisfyingly listenable, offering the classic big band
sound without staid clichés and leaden chart readings.
http://www.allaboutjazz.com/php/article.php?id=15907
~Sean Patrick Fitzell
Jack Bowers review from Jazz News Magazine
MIKE LONGO AND THE NEW YORK STATE OF THE ART JAZZ ENSEMBLE
"Explosion" (Consolidated Artists)CAP945
Any big band that can make Porgy and Bess swing has my approval.
Pianist Mike Longo's New York State of the Art Jazz Ensemble not only
enlivens a medley of tunes from George Gershwin's groundbreaking folk
opera, it pulverizes without remorse every other chart during a fabulous
coming - out party on Longo's Consolidated Artists label. After forming
the band, Longo spent a year gigging around before shepherding everyone
into a recording studio to document their prowess. The time invested
together paid dividends, as the ensemble - in whose ranks are a number
of New York's most accomplished soloists and sidemen - is sharp and
focused from arrival to departure. The NYSAJE provides a lavish banquet,
and for dessert Longo serves up a tantalizingly even - tempered helping
of
Duke Ellington's fundamental Jazz axiom, "It Don't Mean a Thing (If
It
Ain't Got That Swing)." Which, of course, it don't. The ensemble comes
out swinging hard (shades of SuperSax!) on Sonny Stitt's smoldering
"Eternal Triangle" (featuring Frank Perowsky's tenor), and while
I'd
have welcomed a slightly faster tempo, I'm not one of those who had to
play it. Next up is the first of three compositions by Longo, "Blue
Gil," an assertive blues inspired by Longo's memories of composer /
arranger Gil Fuller. Tenor Frank Basile, guitarist Adam Rafferty,
trombonist Wayne Andre and trumpeter Virgil Jones brighten the landscape
with enterprising solos. Benny Golson's "Along Came Betty," a
medium - tempo charmer with solo space for Longo and alto Lee Greene, is
followed by the 12 - minutes - plus Porgy and Bess medley, scored
by
Longo and featuring Perowsky's clarinet ("Summertime"), Jones's
trumpet
and Bob Suttmann's trombone. Longo composed "Frisco" for a quintet,
and
it was amplified for the band by Dick Cone. Again, topnotch solos by
Jones, Basile (flute), Rafferty and alto Bob Magnuson. The Jazz waltz
"Dancing on the Moon" was written in 1970 as a feature for Longo's
close
friend Dizzy Gillespie who played it on The Dick Cavett Show.
Jones sits in for Diz on this new version. Gillespie, for whom Longo
served as music director / pianist, is represented by two of his radiant
compositions, "A Night in Tunisia" (showcasing Suttmann, Longo,
lead
trumpeter Joe Shepley and tenor Bob Curtis) and the polyrhythmic,
polymetric and Afrocentric "Kush" (with solos by Greene, Jones,
trombonist Sam Burtis and baritone Matt Snyder). Bassist Lyn Christie's
arco is front and center on Rodgers and Hammerstein's lyrical "Younger
Than Springtime" from the celebrated musical South Pacific.
By
slowing Ellington's flag - waver to a bluesy crawl, Longo gives the
ensemble a chance to show beyond a doubt that swing can appear in all
guises and tempos. A marvelous debut for New York City's newest kid on|
the big - band block.
Jack Bowers
Track listing: Eternal Triangle; Blue Gil; Along Came Betty; Porgy and
Bess medley; Frisco; Dancing on the Moon; A Night in Tunisia; Younger
Than Springtime; Kush; It Don't Mean a Thing (If It Ain't Got That
Swing) (70:30).
Personnel: Mike Longo, leader, piano; Joe Shepley, Burt Collins, Virgil
Jones, Ryan Kisor, Greg Gisbert, Seneca Black, trumpet; Wayne Andre, Sam
Burtis, Bob Suttmann, trombone; Johnathan Greenberg, bass trombone; Bob
Magnuson, alto sax, oboe, English horn; Lee Greene, alto sax, clarinet,
flute; Frank Perowsky, Frank Basile, tenor sax, clarinet, flute; Bob
Curtis, tenor sax, clarinet; Matt Snyder, baritone sax, bass clarinet;
Adam Rafferty, guitar; Lynn Christie, Cameron Brown, bass; Darryl
Pellegrini, drums. (This
CD can be purchased from this site by clicking here for a FREE sound byte)
CD - EXPLOSION- Mike Longo with the New York State of the Art Jazz Ensemble
Bandancas de Arromb
By Arnaldo de Soutiero (From the Newspaper "A Tribuna", Rio de Janeiro,
01/24/2000)
(untranslatable Slang. Translation by Nick Adamo.)
Two just released disks are here to prove that the Big Band format, at least
when
free of the limits imposed by the purists, still have a lot to offer in the
jazz universe.
With great creativity in concept, arrangement and execution, the new CDs from
Chico O'Farrill ("Heart of a legend") and Mike Longo ("Explosion")
are wonderful
complements. While Chico goes for the afro-cuban grooves, Mike goes for a kind
of
orchestrated hard-bop with some hints of Latin and funk. Both have a common
point:
the devotion to Dizzy Gillespie, with whom both worked in the past.
Sound Explosion
The new spectacular CD of Mike Longo, "Explosion" (70 min, 37 sec),
loses for
Chico's CD in three points only: the production grandeur, the luxury package
with
'30 page booklet and the sound quality brought by engineer Troy Halderson. The
explanation is simple: "Heart of a legend" was financed by the powerful
group Fantasy
Inc. while "Explosion" was more of an individual effort by Mike with
financial limitations.
The work is under the leader's own label CAP.Musically though "Explosion"
runs head
to head with "Heart of a legend". There is no big shot guests, but
the team Longo
assembled is an elite pack on its own. No wonder it got a name that sounds pretentious:
The New York State of The Art Jazz ensemble. Too grand? No way! To begin with,
all 10
tracks are masterpieces of orchestration. Further, as Chico, Mike uses the basic
big-band
formation of 21 musicians. And what musicians! For instance, among the 6 trump
"Deodato in concert") side with "freshmen" on the level
of Ryan Kysor and Greg Gisbert.
Consecrated by his association with Dizzy Gillespie, to whom he was musical
director between
1967 and 75, once in a while coming back to his ex boss and eternal guru, Michael
Joseph Longo
hits a new artistic level with this album, delivering classes in dynamics, colors
and textures in
a formidable repertoire. This time his piano is not the focus but his superb
ability as conductor even
so Mike's solo in the delicious homage from Benny Golson to Betty Carter ("Along
came Betty")
is another plus for Oscar Peterson's pupil.
The show begins with "Eternal triangle", first recorded by Dizzy in
'57 with the Sonnys Stitt &
Rollins, with a tenor solo by Frank Perowsky. From bop it flows to the blues
in "Blue Gil", dedicated
by Mike to the now forgotten conductor Gil Fuller, curiously the first boss
of Chico O'Farrill in NY
back in '48. As composer mike keeps scoring with the waltz "Dancing on
the Moon" (trumpet solo by
Virgil Jones) and in the bouncing funky in 6/4 "Frisco", starring
the guitar player Adam Rafferty.
In the long suite with opera themes from "Porgy & Bess" the woods
take the lead in "Bess, you is
my woman now", with a mellow clarinet heading "I loves you Porgy"
just before the brass take the lead in a
"Summertime" close to reggae. Another show of creativity goes for
the arrangement for the standard
"Younger than springtime", in which Lyn Christie shines with the bass
bow. Next, the exotic "Kush", and exercise
that Mike played endlessly with Dizzy, comes with less African flavor opening
space for several soloists, letting
Sam Burtis (favorite trombone of Deodato since the time of "Havana strut",
now in the track of the movie
"Bossa nova") free to fly. And to finish a deference to Ellington
through "It don't mean a thing" in a superb
arrangement. Supreme!
("Explosion" by Mike Longo can be purchased from this web site. CLICK HERE.
CD - EXPLOSION- Mike Longo with the New York State of the Art Jazz Ensemble
The News and Observer on the Web -
March 19, 2000
A solid piano ensemble
Mike Longo, who played piano in Dizzy Gillespie's quintet in the 1970s, leads
the New
York State of the Art Jazz Ensemble on "Explosion" (Consolidated Artists
Productions).
His arrangements suggest Gillespie, Gil Fuller, Tadd Dameron and other bebop
writers, but
some passages are reminiscent of the Count Basie and Woody Herman bands. These
comparisons do not imply that the music is derivative, but it's obvious that
Longo has a
healthy respect for big band tradition and Gillespie's innovations. Although
the band boasts
few well-known players, it takes care of business in a commanding yet warm way.
Guitarist
Adam Rafferty is particularly impressive in a Wes Montgomery-tinged turn on
Longo's
"Blue Gil." Trumpeter Virgil Jones, frequently cast in a Gillespie
like role ("Dancing on the Moon,
"Kush" and others), shines throughout the album. Bassist Lyn Christie
is exemplary on "Younger
Than Springtime." Longo's piano breaks through from time to time, further
reminding us of the solid
Afro-Latin rhythm lessons he learned from Gillespie. A good album all around.
By OWEN CORDLE, Correspondent
(To purchase this Cd or
hear a sound byte click here)
24 · Earshot Jazz · June 2002
CD Review
Geoff Cooke Quintet
Consolidated ArtistsProductions
BY PETER MONAGHAN
One of the best recent Northwest releases is the Geoff Cooke Quintet's
See You at the
Bridge (Consolidated Artists Productions).It has some of the key qualities
that keep
mainstream jazz alive and fresh rich exploration within well-worn
modes, and
great competence, for starters.The album has something of the classic,'60s/'70s,
Blue Note-era assurance in performances that are at once emotionally charged
and
thoughtful and yet somewhat abstract and even aloof. The disc begins with
a winning,
novel waltz rendition of the great Miles Davis/Bill Evans piece "Blue
in Green" in
which the horns mould John Coltrane's classic solo from "Kind of Blue"
into the 3/4
signature. See You then settles into a run of five originals by Cooke,
before returning to
its roots with Freddie Hubbard's "On the Q.T." And so on. Saxophonist
Brian Kent has
long been a Northwest treasure a low-key but rich-toned and varied
stylist who is equally
effective slow and vulnerable, in full attack, or just about anywhere in
between. The album
signals, in addition, the full arrival of pianist Ryan Burns. On Cooke's
"St. Stephen," for
example, he displays wonderful poise and patience in a drawl-ing, bluesy
passage whose
modulation and understated punch fit perfectly with Cooke's balanced arrangement.And
arrangement, certainly, is among the leader's greatest strengths. For this
album, getting
noticed will no doubt depend in good part on listeners' alertness to the
way in which he
carves out space for drama and emotion not just way out front and center,
but also within
the band's carefully constructed frames of group playing. By the time the
program arrives
at the South African-influenced "Bakithi's Line," a listener is
more than ready to go along for
the ride, led by Tony Grasso's trumpet, which launches from an edgy, township
simplicity into
some joyful bursts of flight. Among all that, the drumming of JoseMartinez
demonstrates that
he, too, has fully arrived as a mature, broad-palette musician. The leader's
own contribution on
bass is always solid, too. The album's title, as he explains in his liner
notes, refers to the phrase,
"take it to the bridge," that band leaders use to ask bass players
to solo to the bridge of a tune.
It's a very satisfying disc, which hopefully will receive attention, and
radio play, to boot it along.
It is, by the way, a radio perfor-mance, most of it recorded by Doug Haire,
the wizard of the non-
profit Jack Straw Productions, at one of his late-Friday-night broadcasts
of "Sonarchy radio" on
KEXP. Cooke, who hails from Denver and has been in Seattle for going on
eight years now, will
be a leader to watch. The band, which did such sterling service for the
wonderful Edmonia Jarrett
in recent years, seems set for much greater recognition. One piece on the
album, "Boca de Tomatlan,"
signals that Cooke has been around now long enough to know that, in the
jazz trade, things can go
real wrong. It's a cautionary tale worth repeating: Cooke accepted a stint
at a hotel in Mexico whose
American owner reneged on his end of the contract and refused to pay the
band, claim-ing that room
and board should suffice. The band was stranded for three weeks with no
money, and then was forced
by the owner, and paid-up local cops, to meet their "unpaid hotel bills"
by playing at his master's
pleasure for another week. Caveat puer symphoniacus!
(This CD can be purchased
from this site by clicking here for a FREE sound byte)
Jack Bowers review from Jazz News Magazine
MIKE LONGO AND THE NEW YORK STATE OF THE ART JAZZ ENSEMBLE
"Aftermath" (Consolidated Artists)CAP965
As last year's debut album by pianist Mike Longo's NYSAJE was labeled
Explosion, it's entirely appropriate that its second enterprise should
be dubbed
Aftermath. One should not be lulled, however, into believing that
the aftermath is
somehow less dynamic than the explosion itself. This aftermath packs
a devastating
wallop of its own, orchestrated by Longo and ignited by twenty-two of the
New York
City area's most accomplished sidemen. Although it's not stated in so many
words,
we presume that all of the charts and all but three of the compositions
(Coltrane's
"Naima," Dizzy Gillespie's "Wee," Rodgers and Hart's
"It Never Entered My Mind")
are by Longo. If so, Diz's longtime music director has done himself proud,
framing
bold yet accessible songs and arrangements that may be challenging to play
but are
a pleasure to hear. The reed section in particular (shades of SuperSax!)
warrants a
medal for its soli above and beyond the call on the fleet-footed "Wee,"
wherein Longo
remodels a typically meaty Sonny Stitt solo for them to chew on. As a reward,
the
ensemble is given Longo's sumptuous arrangement of "It Never Entered
My Mind"
in lieu of the usual flag-waving finale. Aftermath opens with Longo's
Gillespie-like
swinger, "Urban Jungle," which precedes his radiant bossa-based
treatment of
"Naima." Longo hits the nail squarely on the head with "Moody's
Groove,"
as one can almost envision the legendary saxophonist leaping eagerly into
its
bluesy changes. "Love Dreams," whose walking bass intro reminds
one of
"A Night in Tunisia," prances smartly along behind wicked solos
by alto Bob
Magnuson and guitarist Adam Rafferty; "Hooters," which includes
some of the
most charming ensemble passages on the album, slows the tempo slightly for
trumpeter Joe Magnarelli and soprano Patience Higgins; "Day Spring,"
a Latin-style
romp in 5 /4, introduces another impressive trumpeter, Nabate Isles, who
solos again
on the melodic burner, "Yomamo" - on the former with trombonist
Wayne Andre and
bassist Lyn Christy, the latter with alto Lee Greene and trombonist Sam
Burtis. Other
soloists of note include Longo, trumpeter Virgil Jones and tenor Frank Perowsky
("Urban Jungle"); Longo, Magnuson and flautist Frank Basile ("Naima");
Greene,
Rafferty and trombonist Bob Suttman ("Moody's Groove"); Perowsky,
trumpeters
Burt Collins and Joe Shepley ("Wee"), Collins (flugel) and Andre
("It Never Entered My Mind"). Drummer Darryl Pellegrini anchors
the ensemble's
superb rhythm section. Nola Studio, where the recording was made, should
be booked
often, as the sound is letter-perfect. With two such "explosive"
albums on the street, what
to call the next one? How about "Bombs Away"?
Jack Bowers
Jazz News Magazine
(This CD can be purchased from this web site by CLICKING HERE)
Track listing: Urban Jungle; Naima; Moody's Groove; Love Dreams; Hooters;
Day Spring; Yomamo; Wee; It Never Entered My Mind (66:20).
Personnel: Mike Longo, leader, piano; Virgil Jones, Burt Collins, Joe
Magnarelli, Joe Shepley, Nabate Isles, Gary Guzio, Darryl Shaw, trumpet; Bob
Magnuson, Lee Greene, Frank Perowsky, Patience Higgins, Frank Basile, Matt
Snyder, reeds; Wayne Andre, Sam Burtis, Bob Suttman, Lynn Welshman, Eric
Goetz, trombone; Adam Rafferty, guitar; Lyn Christie, bass; Darryl
Pellegrini, drums.
RAPPORT MAGAZINE REVIEW
West Coast Review of Books, Art & Entertainment
5365 Fountain Ave
Upper Terrace #6
LA, CA 90029
323 660 0433
MIKE LONGO AND THE NEW YORK STATE OF THE ART JAZZ ENSEMBLE
"Aftermath" (Consolidated Artists)CAP965 **** (Highest 4 Star Review)
There is little doubt that the late Dizzy Gillespie's sound when he
led a Big Band
influenced Longo with his brass-laden band. Ther's even a composition by Dizzy,
WEE,
in the mix here, sandwiched between nine originals by Longo. Not to say that
anything is
that firmly derivative. Longo's his own man, cognizant about what makes a jazz
orchestra
cook and virtually everyone of the nine selections display that.
He opens with Urban Jungle, which truly commands your respect for its emply
of
various musical elements and degree of intensity led by trumpeter Virgil Jones
who fronts
the piece hansomely with a strong assist on bass by Lyn Christie. There is such
cohesion
here in the driving manner in which every musician plays his parts on the Longo
creation.
Longo is to be credited also with a program that never seems han-me-down or
mailed-in.
The band members came to work and they do. John Coltrane's Naima is proof
positive
that nothing on the slate is a walk-in-the-park. Frank Basile's winsome inclusion
on flute
with the band laying down a brassy flooring makes the music pay off. Longo,
a pianist, takes
a turn on bass clarinet on this one and shows that he's adept on a horn as well.
There are so many goodies here. Longo's tribute to saxophonist James Moody is
heard on
Moody's Groove, a bluesy tune, which features a stalwart guitar solo
by Adam Rafferty.
Jones's muted trumpet also adds to the overall pleasures.On the aforementioned
Wee,
there are two trumpeters - Burt Collins and Joe shepley - vying for attention
and Frank
Peowsky's tenor sax effort along with drummer Daryll Pelegrini commands
interest throughout.Longo's band is top-noth and definitely merits attention.
W.Y.
(To purchase this CD or hear a sound byte click here)
Joe Lang Jersey Jazz Magazine
"Aftermath"
Mike Longo's New York State of the Art Jazz Ensemble is one of the unique big bands around today. It is comprised of some of New York City's finest unsung players. Most of these cats are buried in studio and pit band work. When they get a chance to dig into the kind of charts that are found in Longo's book, it is like they were reborn. Their second album, Aftermath (Consolidated Artists Productions 956) is an exciting visit to the world of modern big band music. Longo's arrangements are challenging and involving to both players and listeners. Steeped in bebop sensitivity, Longo knows how to expand on that orientation without losing its creative and propulsive essence. The nine tracks include seven Longo compositions, as well as an intriguing examination of John Coltrane's "Naima," and a lush Kentonesque setting for "It Never Entered My Mind." This is a band that loves what it is doing, which comes through on every track.
CD: BLOOD SWEAT AND BEBOP- Adam Rafferty
from New York City, July 15, 1999
"Extraordinary Jazz Guitar"
Adam Rafferty - Guitar
Bob Cranshaw - Bass
Mike Longo - Piano
Ray Mosca - Drums
Rafferty proves with this CD that he is definitely one of the rising
guitar stars
on today's jazz scene. His playing here is forceful, eloquent and always
swinging.
Backed by the superb rhythm section of Cranshaw, Longo and Mosca, Adam
Rafferty displays the benefits that apprenticeship with mature veterans
can bring to
todays younger musicians. He rises to the occasion in a most enjoyable fashion
whether he is playing a funky blues like Bubu or Birks Works or playing
the
gorgeous rendition of Coletrane's Central Park West. His skills as a composer/arranger
are remarkably demonstrated on Allegro in Bb, Fulvia and the delightful
Samba
For You. The up tempo burner Cherokee will have you tappin' your toes throughout
as will the unique version of I'll Remember April. Triste, the Jobim classic,
demonstrates Rafferty's command of Latin based tunes and particularly the
samba
which he plays in a most convincingly authentic manner. The rhythm section
work on this whole date is incredible. The CD closes with one of the most
beautiful solo guitar renditions I have ever heard on the Strayhorn classic
Lush Life. This is a must for jazz guitar lovers and jazz fans in general.
Bravo Adam Rafferty!
Izzy Feldman
CD - Blood, Sweat and Bebop
Adam Rafferty (Consolidated Artists)
By Jack Bowers
All About Jazz Review
As I've often confessed, when it comes to guitars and guitar players
I'm by no means an expert - the truth is, they all sound pretty much
alike to me. But listening to"Bubu," the opening track on Adam Rafferty's
debut recording for Consolidated Artists, I was reminded of Wes
Montgomery, even though I don't know if he even played the same kind of
instrument as Rafferty (I am aware that there are many varieties of guitar).
In any event, my impression was prompted not so much by the instrument
itself as by the bluesy, Weslike ambiance shaped by Rafferty and his
quartet of worldclass New York sidemen. "Bubu," by the way, is
one of
four original compositions by Rafferty, and each one is supple and swinging.
Also on the appetizing menu are Antonio Carlos Jobim's "Triste," Dizzy
Gillespie's "Birk's Works," John Coltrane's "Central Park West,"
the standards
"Cherokee" and "I'll Remember April," and Strayhorn's poignant
"Lush Life,"
which Rafferty plays unaccompanied to end the session on an ethereal note.
Musicmaking, Rafferty writes in the liner notes, is to him a twofold
endeavor -
on the one hand, the musician must practice, work and perfect his craft; on
the other,
he must pay his dues and overcome trials and tests on an inward spiritual journey
that in a bestcase scenario leads to a mystical transformation in his music
that
"cannot be unraveled with the rational mind but is recognized immediately
by
the spirit." This sound, he avers, "is filled with vibrations of love,
truth, sincerity
and intelligence. It brings joy to all who hear it and draws souls together."
Laying aside the metaphysical trappings, it's a reasonably accurate definition
of
Jazz at its best. Rafferty doesn't presume to say he has arrived, but the music
herein suggests that he has at least taken some meaningful steps toward
reaching that goal. Another task faced by most musicians, of course, is choosing
one's sidemen with care. Rafferty deserves an Aplus in that area, as Longo,
Cranshaw and Mosca are among the best at what they do, which is to lend
unwavering support. Rafferty has awesome chops, a pleasing sound, an ample
storehouse of bopbased ideas, and an exceptional ear for an attractive
melody.
This is an impressive comingout party with firstrate sound quality,
generous
running time and inspired blowing by every member of the crew.
Track listing: Bubu; Triste; Allegro in Bb7; Fulvia; Birk's Works;
Central Park West; I'll Remember April; Samba for You; Cherokee;
Lush Life (68:59).
Personnel: Adam Rafferty, guitar; Mike Longo, piano; Bob Cranshaw,bass; Ray Mosca, drums.
"Blood Sweat and BeBop" by Adam Rafferty can be purchased from this web site. CLICK HERE.
_________________________________________________________________________________
CD: DAWN OF A NEW DAY - MIKE LONGO
jive100@aol.com from Ft. Lauderdale, Fl. , June 25, 1998
"Fantastic Jazz Piano"
I am a drummer going to school in New York City to study jazz. The music
on this
CD is what it is all about for me. To learn to swing the way that the cats
on this
record play is why I am here. I have always held Dizzy Gillespie up as my
hero
because he is a master of rhythm. Mike Longo, his long time pianist, has
captured
much of what Gillespie was about in his playing. I can't stop listening
to this CD.
It just makes me feel happy. If you are ever depressed just put this CD
on and you
will be in another place within minutes. Mr. Longo, I can't thank you enough.
Sweet and Lovely is my favorite track because the groove is fantastic. They
really
nailed that one. The funk version of Speak Low is wonderful. The opening
slow
blues is masterful. Guys my age can't really play blues at that tempo and
it is
something I would recommend that all young aspiring jazz musicians listen
to. I
highly recommend this recording to all of you. Jim Moody
okay90@aol.com from New York City , June 23, 1998
"One of the best piano albums of all time"
Mike Longo has to be the most underated pianist in the country. I was aware
of
him back in the 60s and 70s when he was with Dizzy Gillespie's group and
I
always thought highly of him. This CD, however, has made me take another
look.
His blues playing on the title track is absolutely superb. His ability to
swing on
tracks like "Sweet and Lovely" and "Tin Tin Deo" are
a revelation. He plays
absolutely the most gorgeous rendition of "Porgy and Bess" selections
I have ever
heard and the passionate rendition in 3/4 time of "The Shadow of Your
Smile" is
something you have to hear to believe. The CD ends with a blistering up
tempo
version of the classic "Limehouse Blues" that is hard to believe.
Where has this
guy been all of my life? I would highly recommend this CD to all of you.
You will
be listening to it over and over just as I have and for many years to come.
Kay Sherman
("Dawn of a New Day"by Mike Longo can be purchased from this web site. CLICK HERE)
While he has been spending a lot of time building and promoting the big band, Mike Longo still finds time to remind us of his considerable abilities as a jazz pianist. Still Swingin' (Consolidated Artists Productions 959) is a fine outing by the Mike Longo Trio, with Ben Brown on bass and Ray Mosca on drums. There are pop standards like "All or Nothing at All" and "I Didn't Know What Time It Was," jazz tunes like "Oleo" and"Wildflower," and a couple of original tunes, "The Night is Love" and "Bones." It is interesting to listen to the trio version of "It Never Entered My Mind" here, and the big band version on Aftermath. This song just seems to put Longo in a wistful, romantic frame of mind. His unusual frenetic treatment of "From This Moment On" should catch your ear. I wish that all jazz albums were as accessible and enjoyable as this one. The pace is varied, the songs first-rate, and the playing is creative and cohesive.
("Aftermath" can be purchased from this web site by CLICKING HERE) ("Still Swingin" can be purchased from this web site by CLICKING HERE)
Florida Sun-Sentinel.
Mike Longo: Still Swingin' (CAP)
Fort Lauderdale native Mike Longo, who spent 22 years as Dizzy Gillespie's
pianist, leads a form-fitting
trio in this outing with bassist Ben Brown and drummer Ray Mosca. Longo is especially
eloquent on
standards, making a beautiful, heartfelt elegy of It Never Entered My Mind and
slowing the tempo of How
High the Moon to expose rich seams of harmony. He puts a sleek new harmonic
chassis under I Didn't Know
What Time It Was, struts through From This Moment On and offers a couple of
evocative originals, plus tunes
by John Coltrane, Sonny Rollins, Wayne Shorter and James Moody. In Shorter's
Wildflower, Longo's melodic
lines eddy and flow until he and his trio achieve a kind of blithe transcendence.
And if you thought nothing new
could be wrung from the chords of Without a Song, listen to Longo's easy, floating
swing as he creates shifting
musical perspectives through subtle changes in dynamics and texture. The art
of the jazz trio doesn't get much
better than this. (This recording on the small CAP label may be hard to find;
it can be ordered from www. jazzbeat.com
or by calling 800-232-6796.)
-- Matt Schudel
(This CD can be purchased from this site. Click here for a FREE sound bite)
Indie Music
Still Swingin' - The Mike Longo Trio
By Heidi Drockelman
As Mike Longo says, "The 'swing' is the thing." But let me clarify
this isn't a "swing band", or dance, record.
But this is a record that will please any jazz lover, from experienced listeners
to novices. And some of you may
need a history lesson, so here's a little introduction to Mike Longo. Hailing
from New York, Longo has been in
the business for many years. Longo began his career with Cannonball Adderly,
studied under Oscar Peterson
and still managed to play with Dizzy Gillespie for 22 years. In addition to
this record, the pianist has also recorded
16 solo albums and has authored nine books teaching the art of music and performance.
So it's a bit of an under-
statement to say that he has an enduring musical background. But if you ask
me, Longo, along with Trio members
bassist Ben Brown and drummer Ray Mosca, sounds like an innovator and performer
in the springtime of his career.
What's wonderful about jazz, and about performers who can take a standard and
put a new twist, or kink, in the notes
is that you don't have to listen with your mind, but rather with your soul and
emotions and let the notes take you on
a ride. Jazz is very organic, at least for me, and a good performance, as the
Trio has executed here, makes you feel like
you're coming in touch with your roots. And while I may have grown up in a different
time and place from Longo,when the keys flow smoothly by, I'm right there with
him. STILL SWINGIN' contains two originals from Longo "The Night
is
Love" and "Bones" while the bulk of the material is made
up of standards and beautiful renditions of classics like
Coltrane's "Trane's Blues", Sonny Rollins' "Oleo" (a really
fantastic contemporary take, truly exceptional) and a particular favorite of
mine, Cole Porter's "From This Moment On". What's remarkable about
the performances on this disc, is that Longo, Brown and Mosca have taken familiar
tunes, given them a new complexion, and delivered some of the most in-
novative and satisfying recorded jazz that I've heard in years. I wouldn't call
myself an aficionado, but all music is the
same in one capacity the way it moves you. The rhythm throughout the disc
is pulsating, bebopping, and really drives
the tempo to new heights. This type of musicianship is seldom seen and heard
on the pop scene, and many bassists and percussionists could benefit from studying
the flow of movement. And here, the 'swing' truly is the thing, and it's true
to the artful presentation Longo has provided the jazz and blues world for years.
Fans of Coltrane, Gillespie, Sonny Rollins, and a more straight-arrow approach
to contemporary jazz music will enjoy and relish this disc. Truly a remarkable
performance and one that will expand your palette and hopefully inspire other
musicians to explore the depths of jazz classics and their own jazz scenes.
(This CD can be purchased from this site. Click here for a FREE sound bite)
The Mike Longo Trio
Album - Still Swingin'
Year - 2001
Label - CAP Records
Reviewed by Wes Gillespie- The
Jazz Site
Former pianist and musical director with my
namesake Dizzy Gillespie's Quintet, Mike Longo has
a fascinating musical background stemming from his
classically trained roots to jazz. His association with
icons such as Cannonball Adderly, Canadian Oscar
Peterson and his love for Brazilian music have added
splashes of muscial colour to this new set.
'Still swingin'' is the seventeenth album by Mike and is a hybrid
album aimed at today's contemporary jazz fans and the more
dedicated lovers of the old school.
Indeed Mike Longo is more than qualified to present such and
album of covers as much of his previous work was self-penned. He
decided on puting something more familiar on to the musical
canvas and the Roger & Hart's 'It never entered my mind' and 'I
didn't know what time it was' are timeless classics beautifully
played close to the original melodies.
Other inspiration comes from John Coltrane, Wayne Shorter from
Weather Report, James Moody and Sonny Rollins. The bossa cut '
The night is love' and 'Bones are self -penned' Longo tracks, the
former a delicate Jobim 'Wave' sounding melody with clever chord
structure. The latter is bluesy mid tempo swayer dedicated to the
late, great bassist Sam Jones with whom Longo had a long
musical relationship
This is an album to sit down and relax to with a glass of your
favourite tipple and enjoy the late night sounding maestro at work.
I think you will be impressed at how easy it flows for non jazz
fans and how integrate it will appeal to the die hards.
(This CD can be purchased
from this site. Click here for a FREE sound bite)
The Mike Longo Trio
Album - Live At The
Detroit International Jazz Festival
Year - 2002
Label - CAP Records
Similar in style to:
Oscar Peterson, Ray Brown, Dave Brubeck, Thelonious Monk, Horace Silver, Erroll
Garner, Bud Powell, Bill
Evans
Reviewed By Wes Gillespie - The
Jazz Site
Mike Longo has been playing jazz for more than forty
years. He attended the Western Kentucky State
University and earned a BA degree in classical piano
but he was more fascinated by the challenge of jazz
music and entered into a career which has produced
some 17 solo albums, 9 teaching music books and
jazz performances with a 'cast of thousands' including
Dizzy Gillespie, Cannonball Adderly, Coleman
Hawkins, Gene Krupa, Lee Konitz and Zoot Sims to
name just a few.
Along with bassist Santi Debriano and drummer Ray
Mosca the trio offer a rich menu of jazz standards on
'Live' including Dizzy's 'Fiesta Mojo', 'Tin, Tin Deo' and the
wonderful 'A Night In Tunisia'. Also included are Monk's
'Rhythm-A-Ning' and one of my personal favourites, the
legendary 'Round Midnight'
This standard trio line up not only gives the musicians
the opportunity to shine individually but to translate the
arrangements spontaneously in many cases. Mike cites
that this as an 'important ingredient' for improvisation and
adding colour to the melodies.
Although Mike adds his own interpretations to many of
the tracks on this album he nevers veers too far away from
the melody line to confuse the listener but leads them on
a exciting journey of exploration. His playing is as you
would expect from a jazz master, effortless, rhythmic,
infectious and generally, truly amazing.
The selection of melodies on this live set are obviously
Indeed the eleven and a half minute medley of
Gershwin songs from 'Porgy and Bess' including the sultry
'Summertime' is a tribute but also an example of how Mike
cleverly transposes this classic folk opera to jazz,
something which he has enjoyed doing since his 1962
album entitled 'A Jazz Portrait of Funny Girl'.
His interpretations of John Coltrane's 'Trane's Blues' and
Gershwin's 'My Funny Valentine' are full of explosive chord
structures and cascading riffs. Debriano's walking bass on
the latter is particularly enjoyable as Mike explores the
melody with Monk inspired bass clef 'drop-ins'. Ray Mosca
keeps everything tight without being overpowering or
extravagent, for me the sign of a 'great drummer'.
My 'killer-cut' on a album full of personal favourites is 'A
Night In Tunisia' which is an uptempo rendention of
Dizzy's classic and one which Mike could play in his sleep,
a version close to the original with just a little Mike Longo
'spice' to add a subtle flavour.
A hugely enjoyable album from a water-tight trio of
impeccable musicians and one true jazz fans should not
miss. Available now from Amazon.com
Review by Wes Gillespie who also writes reviews for All
That Jazz, The Brazilian Music Review, Sony Jazz and
hosts the new EuroClub de Jazz and Sony Jazz Europe
websites.
Musicians
Thursday, February 20, 2003 Mike Longo Page: 2
http://www.thejazzsite.net/files/
mikelongo2.htm
dear to Mike as he performed some of them as the
musical director for Dizzy Gillespie for many years and
others on stage in a myriad of venues in the US for more
than 40 years.
Track Listing
Jazz Site Rating - 10 outa 10
Thursday, February 20, 2003 Mike Longo Page: 3
http://www.thejazzsite.net/files/
mikelongo2.htm
Mike Longo - Piano
Santi Debriano - Bass
Ray Mosca - Drums
1. Introduction
2. My Funny Valentine
3. Band Introduction
4. Trane's Blues
5. Introduction to Fiesta Mojo
6. Fiesta Mojo
7. Audience Response
8. Rhythm-A-Ning
9. Introduction To Tin Tin Deo
10. Tin Tin Deo
11. Introduction To Porgy And Bess
12. Porgy And Bess Medley
13. Audience Response
14. Footprints
15. Audience Response
16. 'Round Midnight
17. A Night In Tunisia
This CD can be purchased from this site. To listen to FREE sound bite Click Here.
_______________
The Mike Longo Trio-
Live At The Detroit International Jazz Festival
Reviewed by Matt Shudel
Sunday,
May 11, 2003 Sun-Sentinel:
Dave Brubeck Quartet: Park Avenue South (Telarc).
Mike Longo Trio: Live at the Detroit International Jazz Festival (CAP).
Still a dynamic pianist and inventive composer at 82, Dave Brubeck should be
an
inspiration to us all. In this recording at a Starbucks in New York City, he
unveils
four new tunes: Elegy has a mournful elegance, Don't Forget Me and I Love Vienna
are sweet jazz waltzes, and Crescent City Stomp is a straightforward boogie
romp.
Brubeck provides a full-caffeine jolt with his locked-hands solo on Love Is
Just
Around the Corner , but, as in recent live performances, he's sometimes undercut
by
the performances of his band mates. Drummer Randy Jones is heavy-handed, and
alto sax man Bobby Militello has such a harsh, headlong style that Brubeck's
longtime partner, Paul Desmond, must be cringing in his grave. But bassist Michael
Moore, with his smart counterpoint, is a brilliant addition to the Brubeck sound.
Fort Lauderdale native Mike Longo spent 22 years as Dizzy Gillespie's pianist
and
evokes his mentor's spirit with several of his tunes in this live trio performance.
After an awkward up-tempo My Funny Valentine , marred by Santi Debriano's
out-of-tune bass, the trio finds a nice, relaxed groove. The tasteful drumming
of
Ray Mosca keeps this smooth musical machine firmly on the road, especially in
Rhythm-a-Ning and an exuberant A Night in Tunisia . Longo sounds out a ringing
piano line above Debriano's propulsive bass on Tin Tin Deo , builds Round Midnight
into a surprisingly buoyant anthem, then explores the quiet shadows of Wayne
Shorter's Footprints . Never flashy at the keyboard, Longo combines elegance
with a
strong rhythmic sense in this solid outing from an overlooked master of jazz
piano.
-- Matt Schudel
This CD can be purchased
from this site. To listen to FREE sound bite Click Here.
Review Courtesy
AllAboutJazz.com
Live: Detroit Jazz Festival
Mike Longo Trio | CAP
Reviewed by Jim Santella
Track Listing: My Funny Valentine; Trane’s Blues; Fiesta Mojo;
Rhythm-A-Ning; Tin Tin Deo; Porgy and Bess medley; Footprints; ‘Round
Midnight; A Night in Tunisia.
Personnel: Mike Longo- piano; Santi Debriano- bass; Ray Mosca- drums.
You can feel the training Mike Longo received from Oscar
Peterson when he stretches out liberally on “Fiesta Mojo.”
The swing he inherited from Cannonball Adderley and the
spontaneity that stems from his long association with
Dizzy Gillespie also show up on this live recording from
last year’s Detroit Jazz Festival. Bassist Santi Debriano and
drummer Ray Mosca find the setting ideal as well for
turning loose their improvisational ties. At one hour and
15 minutes, this festival set allows plenty of room for
Longo’s talented acoustic trio to navigate. Unlike some
“live” recordings, this one has captured the trio’s sound
quite well.
Straight-ahead and pumped up, Longo offers an eclectic
program from the mainstream. His extended medley on
“Porgy and Bess” captures the passion that comes with its
telling story. The pianist builds cascades that climb and
drift lazily past memorable landscapes. Many South
Carolina seashore communities lost that informal feeling
long ago, but Gershwin’s music never fades. Shifts in the
trio’s mood take the audience through several key
chapters of the classic opera. Longo brings back all the
swing that was embodied by those fascinating characters.
The trio’s interpretation of Wayne Shorter, Monk, Diz and
Trane infuses straight-ahead jazz with a healthy spirit. As
evidenced by their live festival session, no classic piece is
ever played the same way twice. When they close the
performance with a rousing “Night in Tunisia,” Longo,
Debriano and Mosca stir the senses as few others can
manage to convey convincingly. Recommended, their trio
outing adds plenty of fuel to the fires that still burn for the
memory of the fathers of modern jazz.
~ Jim Santella
This CD can be purchased
from this site. To listen to FREE sound bite Click Here.
July 19, 2004
Media Alert: James Silberstein 'Song For Micaela (CAP978)
CD review
Paula
Edelstein
Manager of Content Development
Sounds of Timeless Jazz.com
Contributor
All Music
All About Jazz
Jazz USA
Jazz It
July 19, 2004
SONG FOR MICAELA
James Silberstein
There is nothing like the exotic intriguing sound of a great
voice blended with the passionate sounds of great accompanists. This is what
you’ll hear as you listen to such great artists as James Silberstein,
Carla Cook, Randy Brecker, Eric Alexander, Bruce Barth and Harvie S, among others
on SONG FOR MICAELA. James Silberstein, an amazing guitarist who has been slightly
under the music scene’s radar for the past 25 years, presents his debut
for Consolidated Artists Productions and it’s a keeper. His warm tone
and fluid single note burning style is reminiscent of Pat Martino and a younger
George Benson, but he’s has clearly established a sound that’s all
his own with SONG FOR MICAELA. The great soloing from Randy Brecker on “Red
Carpet,” as well as “Nica’s Dream,” “Aquas”
and “House Party,” make this program exciting and is an invitation
to keep listening. Carla Cook sings “So Many Stars” with imaginative
phrasings and nuance. Her four-octave voice is heard as a soprano this time
around on the timeless Brazilian jazz standard. “Nica’s Dream”
is the perfect vehicle for Silberstein’s nimble articulate playing as
well as his uptempo reading of “Love For Sale.” This is an excellent
recording and one that any jazz guitar enthusiast will enjoy having in their
collection. Swinging with style and definitely in-the-pocket. Buy SONG FOR MICAELA
today at http://www.jazzbeat.com
See this other current review http://www.jazzguitarlife.com/Jazz-Guitar-Life-Reviews-JamesSilberstein-SongForMicaela.htm
The Motive Series
By Dr. Judith Schlesinger
Mark Sherman is a fresh, clear, bright voice on the vibes.
This is apparent from the first track, where the often-lugubrious Nature Boy
bolts out of the tepid jungle into daylight: in this arrangement, it snaps,crackles,
and swings. His unique sound is also obvious on the materialthat follows, mostly
original pieces that are varied and tuneful, spanning the gamut from burners
(the dynamic Motive #10 Judaican (with a blistering Brecker) to lovely ballads
(Motive #3 That Moment) and moody pieces (Motive #11& being the perfect
sonic translation of its subtitle, Always Reaching).
But while Sherman is fresh, he's hardly new. Part of Larry Coryell's group for
over five years, trained and now teaching at Julliard, he's had stints with
the New York Philharmonic and the Joffrey Ballet as well as Peggy Lee, Mel Torme,
and Ruth Brown. Sherman has also produced releases for Rodney Jones and Coryell.
The Motive Series is his sixth CD since 1986, three of them on his own label,
Miles High Productions. This one comes with generous praise from Joe Locke,
another fine vibist, who says .........
"I hear the voices of Bags and Bill Evans and Trane and McCoy and so many
others all expressed through the medium of his mallets." I have to agree
with Joe. More, Sherman has assembled an excellent band that does full justice
to his ideas. There's a pleasing balance in this group, especially between the
vibes and Allen Farnham's lyrical, energetic piano, which enhance rather than
muddy each other. His compositions are arresting, melodic and direct. My favorite
(so far - this CD will get many repeat plays) is Motive #1, with its imaginative
harmonic structure and changing phases. Add to this a soulful but non-sappy
rendition of Willard Robison's classic Old Folks, and you have a splendid package
with a satisfying mix of darkness and light.The Motive Series should elevate
Mark Sherman to the prominence he deserves.
* * * * * * * * * * * * * *
This article copyright © 2004 All About Jazz and contributing writers.
All rights reserved.
Buy "The Motive Series" from the secured server for CAP
Mark Sherman-The Motive Series
Vibist Mark Sherman states his cause by generally composing for “one motive
or rhythmic idea.” After the band opens with “Nature Boy,”
the rest of this production features the artist’s originals sans two standards.
Tenor sax titan Michael Brecker lends his wares for two tracks but the core
band is built upon a quartet, where Sherman and pianist Allen Farnham delve
into various harmonic forays. Sherman possesses a light touch to complement
the rhythm section’s brisk grooves and syncopated beats. Sherman’s
methodology is an interesting one at that. He extends melodies, but does so
via his penchant for also reworking themes into various modalities, traced with
a feathery approach. Either way, Sherman’s impressive technique and strong
compositions impart a tantalizing mix of modern-mainstream jazz coupled with
a full-throttle like mode of attack.
http://www.jazzreview.com/articledetails.cfm?ID=3753
The Motive Series
Mark Sherman | CAP
New York vibraphonist Mark Sherman leads a stellar quartet on The Motive Series,
which includes two straightahead standards and a number of original themes.
His percussive cascades emphasize the spontaneous character of his ensemble,
as well as the artists' fluid interplay. Cohesive and enriched by the vibraphone's
overlaying harmonies, the quartet strolls confidently through visions of Latin
lightheartedness, soulful blues passions, and dramatic fire.
Tenor saxophonist Michael Brecker guests on two arrangements which stretch the
session's capacity for serious intensity. With his two cameos, fire and passion
drive the ensemble forcefully.
A mellow “Soothing Dream” and an introspective “Venture Within”
feature Sherman's sonorous vibraphone with peaceful strolls. Waltzing with a
loping stride, he releases fluid streams of lyrical phrases, all tied together
seamlessly. Solos from piano and bass complement the desired mood.
“That Moment” captures a rolling wave that Sherman's vibraphone
portrays naturally. He swings lightly as he connects spontaneous phrases in
a laid-back, relaxed fashion. “Altered” toys with harmony in such
a way that blue notes and “Monk” ideas commingle in a marriage of
spirit. As the session's high point, this closing number foretells that The
Motive Series, Sherman's fourth album, promises a future with greater recognition
for a deserving talent.
Visit Mark Sherman on the web for audio samples.
~ Jim Santella
Mark Sherman - The Motive Series
4/3
O's Notes: Vibraphonist Mark Sherman pops out from relative obscurity with The
Motive Series. There are ten new originals packed with a sense of swing that
is noteworthy. Supporting Mark and adding to the strong session are pianist
Allen Farnham, Phil Palombi (b), Tim Horner (d) and Michael Brecker (sax on
a couple of tracks). “Judaican” or Motive #10 is dedicated to the
late Kenny Kirkland. They play like they mean it and we could feel it as well.
Get to know Mark. He's a player.
--
D. Oscar Groomes
O's Place Jazz Newsletter
P.O. Box 2437
Naperville, IL 60567-2437
http://www.osplacejazz.com/
Mark Sherman - THE MOTIVE SERIES:
Sherman's vibe playing on this jazzy little CD will excite those of you who
have already listened to his work (he's been reviewed here for quite some time
now), as well as new listeners. I mean, this cat is all over it, &will have
ya' groovin'. Th' fact that Michael Brecker guests on tracks 2 &4 doesn't
hurt matters, either, but Sherman's original compositions (all except cuts 1
&9) are what captivated my ears more than anything else. Mark is one of
th' absolute best vibraphone players on th' planet today, &his crisp, straight-ahead
compositional style is immediately attractive to any jazz listener who has even
th' slightest dose of hip! There is fire shining from his (musical) soul, &it
will be immediately apparent to your ears that you're in the presence of a master!
This is th' kinda' music that melts th' dastardly politicians' games right out
of your mind, &makes you realize that as long as th' creative spirit survives
(through music like this), things aren't as bad as th' power barons would have
you believe! It's also the kind of music that inspires folks to do something
with their own creativity... should be "required listening" from 3rd
grade on, methinks. This CD gets our MOST HIGHLY RECOMMENDED rating, as well
as the "PICK" of 2004 for "best vibe jazz". Truly, this
is one of the best albums we've heard this year! Contact at Mark's site, at
http://www.markshermanmusic.com/ or via e-mail to mark@markshermanmmusic.com
Rotcod Zzaj IMPROVIJAZATION MAGAZINE
A Fine Spring Morning - Jody Sandhaus
Jody Sandhaus has a pure, sweet, full and strong
voice that is well suited to interpreting jazz standards. She always swings,
her subtle improvising makes her interpretations seem personal and she knows
how to tell a story…these renditions are fresh…all dozen selections
are enjoyable. 4 STARS Scott Yanow ALL MUSIC GUIDE
A Fine Spring Morning was recorded by the legendary Rudy Van Gelder and features
the tasty backing of Todd Coolman, Leroy Williams, and Pete Malinverni. She
can dig down deep and proves it on a soulful recreation of Picnic that’s
so urbane and hip it will send you straight to Central Park. Sandhaus’
repertoire is ultra-hip too. More than sonic archeology, these are great, underappreciated
songs, and Sandhaus and her band breathe renewed life into them. She can really
sell a lyric and her version of Get Out Of Town will make you pack your bag.
Joseph Blake (Victoria, B.C.) TIMES COLONIST
Jody Sandhaus approaches a menu of both familiar standards and neglected gems
with style and savoir faire. Among the surprises were Steve Allen's Picnic;
Peggy Lee's gorgeous ballad, There'll Be Another Spring; Duke Ellington's rarely
heard I Like The Sunrise and Matt Dennis' obscure Relax. These are just a few
of the winners on a well performed album featuring tunes that prove Ms. Sandhaus
has done her homework.
4 STARS George Fendel JAZZ SOCIETY OF OREGON
This very attractive album from Jody Sandhaus enhances her already secure reputation
among the discerning fans of quality jazz singing. An interesting repertoire
that mixes well-known standards with some gems from leading composers that are
less well known than should be the case. Indeed, this last comment might reasonably
be applied to this fine singer who richly deserves the attention of a far wider
audience than has so far been the case. This CD could well be the one that makes
the breakthrough into international acceptance and acclaim. Bruce Crowthers
Jazz singer Jody Sandhaus plies us viably with vocal talent, charm, & production
prowess. She’s a keeper.
George W. Carroll JAZZREVIEW.COM