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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

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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

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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

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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

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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

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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

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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

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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.

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Bob Mintzer - In The Moment

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Download at iTunes

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 - 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’s Babe. Babe, originally performed by the iconic group Styx takes a while to get going but the out chorus played by Andrew is worth the wait. This is one of his shining moments.

Wine and Come To Me are two smooth grooves penned by Brian Bromberg; feature Andrew’s silky soprano sound. I Heard It In The Night again features Bromberg on bass and Andrew on the soprano sax. Mr. Neu’s soprano tracks are a highlight of the recording where he has some of his most endearing moments.

The title track, Clear View is one of the high points for me. I particularly like the sound of the brass section here. Lastly and most notably, Blame It On Rio, the unassuming Latin groove really captures one of my favorite sides of Andrew’s playing. Here he teases us with his ability to double on flute. It’s just enough to make the listener want for more. I wouldn’t mind hearing more flute playing from Andrew.

Find Cds and more at AndrewNeu.com

Skip Spratt
SaxShed.com

Gordon Goodwin’s Big Phat Band

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I want to write this while the sounds of the band are still ringing in my head. Tonight I saw Gordon Goodwin’s Big Phat Band play live at a local venue. Although I had heard recordings of the band and knew well the reputations of many members, nothing prepared me for what I heard. The band is comprised of 18 virtuosic recording musicians truly at the pinnacle of their collective abilities. The band is a virtual who’s who of the L.A. recording scene.

Words cannot explain the sound produced properly nor completely. I’ve been fortunate enough to hear some great big bands live. Among the best were Maynard Ferguson, Woody Herman and Buddy Rich. All of those bands could burn the house down, but this tonight was different. Gordon Goodwin transforms these 18 individuals into a cohesive unit, completely in tune, in time and in sync with one another at all times. This was a virtually flawless performance. No, not sterile, but a vibrant, interactive, soulful, meaningful and above all else – musical performance.

The Phat brass section was inspiration in sound and precision. The trumpets were led by high note phenom Wayne Bergeron. He is not only a superb lead trumpet player who can blow the walls down, he demonstrated subtleties lost on most players who possess his range. The trombone section was chock full of talent all the way down to Craig Gosnell on bass trombone. Being able to listen to a bass bone featured on those low, pedal tones was a real treat. You just don’t hear that sound in live jazz very often. Lastly, lets talk saxophone. (Who would have thought?!) Sal Lozano, Brian Scanlon, Jeff Driskill and Jay Mason all played outstanding solos and blended to make a homogenous sounding section under the very capable Eric Marienthal. Marienthal is an obvious draw for the band since the premature departure of lead alto player, Dan Higgins. Twice Marienthal came out front to be prominently featured on his signature Sanbornesque alto sound. Eric sounded like Eric (burning) and Gordon’s Phat boys rose to the occasion to compliment the contemporary sound Mr. Marienthal brings to the table.

Can you tell I’m exited? Yes, I am. Sad to say, I wasn’t going to go! I knew Gordon Goodwin’s Big Phat Band was coming to Southern New Jersey but hadn’t made arrangements to go. Fortunately for me, Sal Lozano contacted me to introduce himself and mention he was coming my way with the band. Sal was very humble and unassuming and I remember thinking, “Of course I know who you are Sal!” Thanks to Sal for getting me out there and now we know each other “in the real world” and the “virtual world of the internet.”

There are few times in life when we are truly inspired to greater heights. This is when we need to seize the moment and propel ourselves upward. Tonight was one of those rare occasions. Gordon, Sal and the rest – thank you much for the inspiration. I’ll be practicing first chance tomorrow.

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Skip Spratt