Frank Wess Nonet - Once Is Not Enough (2008)

Known for his big-band or small ensemble recordings, Frank Wess uses a nine-piece band for the first time in his long, storied career to make easy going swinging jazz in the tradition of his former boss, Count Basie. The masterful tenor saxophonist, arranger, and most notably, composer, has assembled an impressive group, featuring trombonist Steve Turre, saxophonists Scott Robinson, and Ted Nash, trumpeters Terell Stafford and Frank Greene, and the dynamite rhythm section of drummer Winard Harper, bassist Peter Washington, and especially impressive young pianist Gerald Cannon. Together they play original music and standards with the Basie stamp firmly embossed. The tart, compact, internalized sound of Wess on the big horn is a factor in contrasting the otherwise sweet sounds. His world-class flute playing is also featured in spurts, though a "hook 'em horns" gesture on the cover photo as he holds his silver wind instrument might lead you to believe it's featured on the date -- it is not. Wess is clearly the leader and frontman, playing basic main stem melodies and solos on the title selection, "Sara's Song" and "You Made A Good Move," all relaxed swingers arranged by drummer Dennis Mackrel (who does not perform on the date) that are fairly concise, have space for another select soloist, and vary to certain degrees in either united effect, or stratifying the horns. "Backfire" is the wailer, upbeat bop at its finest, rambling a bit but focused, based on the changes of "I Got Rhythm," and featuring a surprise coda based on the title. The standards include Scott Robinson's uniquely charted intro tacked on "Fly Me to the Moon," or the flute of Wess stepping forward on a modified "Sweet & Lovely" with the horns backing him up. Pianist Cannon is one to be heard closely on this recording, as he is capable of all melodic, emotional, or rhythmic duties and responsibilities required. He's also quite original at such a young age -- perhaps the next Kenny Barron? Two tracks feature Wess in only a quartet setting with a different rhythm section including Harper, pianist Michael Weiss, andd bassist Rufus Reid, including a lengthy version of the overwrought, somber "Lush Life," just about the saddest tune ever, wrapped in thin silver tin foil, ultimately fragile, with Wess on tenor, and observant, lovelorn piano interventions. The obligatory Basie-type tune "Tryin' to Make My Blues Turn Green" ends the set in a shuffling along and out style. This is a good effort, not as great as others Wess has made over the years, but the high-level musicianship is a constant reminder that he's very much in the mainstream jazz ballpark, and still has a valid perspective many years after this music was out of trendy and trumped up electronic induced vogue. If you are a fan of Frank Wess, this recording will please you to no end. ~ by Michael G. Nastos, AMG. 

Labeth Music, 101, 2009
Recorded 10th June, 2008 at Nola Recording Studios, New York 

Musicians:
Frank Wess - Tenor Saxophone, Flute, Arranger (#5,7)
Frank Greene, Terell Stafford - Trumpet
Steve Turre - Trombone
Ted Nash - Alto Saxophone, Flute
Scott Robinson - Baritone & Bass Saxes, Flute, Arranger (#8)
Gerald Clayton - Piano (#1-3,5,6,8,9)
Michael Weiss - Piano (#4,7)
Peter Washington - Bass (#1-3,5,6,8,9)
Rufus Reid - Bass (#4,7)
Winard Harper - Drums 

Tracks:
1. Once Is Not Enough {Frank Wess} (5:39)
2. Sara's Song {Frank Wess} (8:22)
3. You Made A Good Move {Frank Wess} (7:37)
4. Dementia, My Darling {Frank Wess} (6:59)
5. Sweet And Lovely {Gus Arnheim, Harry Tobias, Jules Lemare} (5:46)
6. Backfire {Frank Wess} (9:11)
7. Lush Life {Billy Strayhorn} (9:40)
8. Fly Me To The Moon [In Other Words] {Bart Howard} (2:50)
9. Tryin' To Make My Blues Turn Green {Frank Wess} (6:37) 

Total Time: 62:44 

Credits:
Producer - Frank Wess
Engineer - Bill Moss, Jim Czak
Photography - Ed Berger
Design - Michele Kane
Art Direction - Wayne Simmons

Winard Harper - Come Into The Light (2003)

There's certainly been no shortage of artistic statements about the September 11 attacks and their aftermath, and there'll no doubt be more. Few of those are as concise or as engaging as the one made by master drummer Winard Harper and his sextet on Come Into the Light. "911" is but one of the gems on this uncompromisingly excellent live recording (the first at Cecil Brooks III's New Jersey club). Saxophonist Brian Horton sets the tone on his brief introduction, which Harper follows up even more ominously, paving the way for trumpeter Patrick Rickman to launch a blistering attack of his own. Thereafter, the music represents the bedlam and uncertainty that followed the historic day's cataclysm, with both Horton and pianist Jeb Patton weaving tortured cries into Harper's authoritative trap breaks. While Harper is unquestionably the leader, the CD's feel is truly collaborative throughout, from compositional credits-"911" is Rickman's, Horton submits the funky "Specimen A" and Patton provides the Tommy Flanagan tribute "T.F."-to the seamless interplay on the Latin-bop workout "Float Like a Butterfly" and the Tadd Dameron staple "If You Could See Me Now." Another classic, "Corner Pocket," gets a similar treatment, with Horton and Patton again trading quicksilver expressions, all behind another fluid opening solo by Rickman. The rest of the rhythm section-bassist Ameen Saleem and percussionist Alioune Faye-help Harper lay down a solid yet swaggering swing foundation, and the front line keeps their solos mostly lean and mean. This is the unmistakable sound of a top-flight band that has come into its own and is capable of going just about anywhere musically. ~ by Michael Edwards, JazzTimes.com. 

Savant Records, SCD 2058, 2004
Recorded 26th & 27th December, 2003 Live at Cecil's, West Orange, New Jersey

Musicians:
Winard Harper - Drums, Percussion, Balafon
Patrick Rickman - Trumpet
Brian Horton - Soprano & Tenor Saxophones
Jeb Patton - Piano (#4-7,9,10)
Kelvin Sholar - Piano (#2,3,8,11-13)
Ameen Saleem - Bass
Alioune Faye - Djembe, Percussion, Sabar 

Tracks:
01. Spoken Intro by Cecil Brooks III (0:42)
02. Float Like A Butterfly {Winard Harper} (7:00)
03. Little Sunflower {Freddie Hubbard} (5:24)
04. Divine Intervention {Winard Harper} (4:37)
05. If You Could See Me Now {Tadd Dameron, Carl Sigman} (7:56)
06. 911 {Patrick Rickman} (5:08)
07. T.F. {Jeb Patton} (5:35)
08. Specimen A {Brian Horton} (3:50)
09. Polka Dots And Moonbeams {Johnny Burke, James Van Heusen} (5:47)
10. Corner Pocket {Freddie Green, Donald Wolf} (6:44)
11. Come Into The Light [Intro] {Winard Harper} (2:40)
12. Come Into The Light {Winard Harper} (6:13)
13. Korinthis {Winard Harper} (6:39) 

Total Time: 68:15 

Credits:
Producer - Cecil Brooks III
Executive Producer - Joe Fields
Engineer - Don Braden
Assistant Engineer - James Dellatacoma
Photography - R. Andrew Lepley
Design - Keiji Obata
Liner Notes - Laurence Donohue Greene 

Note:
Original CD was poorly compiled, tracks ended with the start of the next track.
Remedy rip to WAV, trim, remove excess applause, optimize, re-encode FLAC > tag.

Winard Harper Sextet - Make It Happen (2006)

Veteran drummer Winard Harper (who has played with Dexter Gordon, Johnny Griffin, Betty Carter, Ray Bryant, Abdullah Ibrahim, Pharoah Sanders, Clifford Jordan and others) gives us two albums in one on Make It Happen. The first is percussion-heavy. The opening tracks, for example, present an approach to ensemble sound that recalls Mosaic-era Jazz Messengers (carefully arranged multiple-horn lines over a busy, insistent rhythm section). The best compositions echo episodes in the Mingus lineage (notably Dave Holland's excellent mid-'80s groups). These elements can be traced back to a common ancestor in Duke Ellington, and you can't have better roots than that. These musical elements are held together by a genuinely novel mix of Afro-Cuban and unhyphenated African percussion. The percussion draws upon the more familiar Latin rhythms known to jazz audiences since Dizzy Gillespie invited Mario Bauza into his band (witness the flawless Latin jazz marriage in Harper's treatment of Charlie Parker's "Segment"), but also other West African elements which are distinct from the more familiar Yoruba heritage: most notably the invigorating Senegalese talking drum passages on "Children of the World." Three nearly all-percussion numbers are a special treat, especially the title track, from Wycliffe Gordon's didgeridoo prelude to its organ-drenched finale over a Brazilianesque rhythm. The other album is a relatively crammed set of decidedly mainstream allegro ma non troppo jazz; more than a few numbers have to be faded out long before they've worn out their welcome to make room for the others. The locus of inspiration for this second part fluctuates between the '50s ("I've Never Been in Love Before") and '60s ("Chronic Mistakes", the bass/alto duet "Tamisha"), and the added percussion is either inaudible or unobtrusive (and always appreciated, when you can hear it). It manifests the same great Duke-ish approach to group sound. Harper assembles a spirited ensemble, augmented on the best tracks by an idiosyncratic band of supplementary percussionists, who play with a palpable joy and solidarity. The percussionists, beginning with Harper, lead the pack; trumpeter Josh Evans' brassy (as opposed to airy) tone recalls Lester Bowie (and ultimately, Rex Stewart) and deserves special mention, but then so too do guests Antonio Hart (alto sax) and Lawrence Clark (tenor sax). I could listen to the numbers on the percussion-heavy part again and again. As for the cuts on the "second" album, they offer fewer reasons to return for more (with the exception of "Divine Surveillance, which has a certain gravitas). If the balance between the two had been struck more decisively in favor of the first, this would be a stronger overall release, and there is no doubt in my mind that these players could have sustained the passion of the percussion-based group over nearly eighty minutes. As it is, the unflagging excellence of the compositions, arrangements and soloing (that's just about everything on a jazz record, isn't it?), added to the evident camaraderie of the players throughout, make for a strong and joyful entry under the "soulful/mainstream heading. ~ by Jeff Dayton Johnson, AAJ. 

Piadrum Records, PIADRUM-0602, 2006
Recorded 8th January & 3rd April, 2006 at Bennett Studios, Englewood, New Jersey 

Musicians:
Winard Harper - Drums, Balafon (#2,15)
Josh Evans - Trumpet
Wycliffe Gordon - Trombone (#4,7,14), Didgeridoo (#4)
Antonio Hart - Alto Saxophone (#3,5,6)
Lawrence Clark - Tenor Saxophone
Stacy Dillard - Tenor Saxophone (#1,12)
Sean Higgins - Piano (#1,9,12)
T. W. Sample - Piano, Synthesizer
Ameen Saleem - Acoustic Bass
Kevin Jones - Congas, Drum [Jamba], Shaker, Triangle
Alioune Faye - Drum [Sabar], Drum [Jamba], Djembe
Abdou M'Boup - Talking Drum (tama) (#2,15), Vocals (#15)
Jeremy Jones - Tambourine, Cowbell, Drum [Dundun] 

Tracks:
01. Segment {Charlie Parker} (4:12)
02. Children Of The World {Winard Harper} (5:51)
03. Morning Glow {Onaje Allan Gumbs} (6:05)
04. Make It Happen {Winard Harper} (6:37)
05. Tamisha {Winard Harper} (6:45)
06. I've Never Been In Love Before {Frank Loesser} (6:48)
07. Get It! Get It! {Wycliffe Gordon} (4:01)
08. Not One Chance {Winard Harper} (5:14)
09. Reflection {Ray Bryant} (4:18)
10. Divine Surveillance {Winard Harper} (6:02)
11. Lourana {Lawrence J. Clark} (3:31)
12. Chronic Mistakes {Winard Harper} (3:52)
13. Bangbangboomboombapbap {Winard Harper} (2:07)
14. After Hours {Avery Parrish} (6:25)
15. The Prayer {Winard Harper} (5:40) 

Total Time: 77:28 

Credits:
Producer - Winard Harper
Audio Engineer - Dae Bennett
Art Direction, Design, Photography - Janis Wilkins

Winard Harper - A Time For The Soul (2003)

Listening to this release from drummer Winard Harper's group, it is very easy and logical to think of Art Blakey and the Jazz Messengers. The music is mostly straight-ahead hard bop, and even overlooking Bobby Timmons' "Dat Dere" (which is straight from Blakey's repertoire), most of the cuts are very much in the same style. Trumpeter Patrick Rickman is a fine player influenced by Lee Morgan and Freddie Hubbard; Brian Horton contributes some excellent saxophone solos, and pianist Jeb Patton excels quite well in the modern mainstream setting. The biggest surprises are an instrumental medium-tempo version of "Here's to Life," and a couple percussion features. Fans of straight-ahead jazz will easily enjoy this fine effort. ~ by Scott Yanow, AMG. 

Savant Records, SCD 2048, 2003
Recorded 3rd January, 2003 at Leon Dorsey Studios, New York City 

Musicians:
Winard Harper - Drums
Patrick Rickman - Trumpet
Brian Horton - Soprano & Tenor Saxophones
Jeb Patton - Piano
Ameen Saleem - Bass
Kevin Jones - Percussion
Scott Harper - Auxiliary Percussion (#7) 

Tracks:
01. Soul Time {Winard Harper, Graham Parker} (5:48)
02. Mr. Baggy Pants {Winard Harper} (5:50)
03. Here's To Life {Artie Butler, Phyllis Molinary} (6:32)
04. Dat Dere {Oscar Brown, Jr., Bobby Timmons} (9:54)
05. About Face {Michael Hedges} (4:23)
06. When The Time Is Right {Winard Harper} (5:12)
07. All Praise To G-D {Winard Harper} (4:05)
08. Alone Together {Howard Dietz, Arthur Schwartz} (6:01)
09. Catanya {R. Brown} (4:56)
10. Glorify {Winard Harper} (6:14) 

Total Time: 59:01 

Credits:
Producer - Winard Harper
Executive Producer - Joe Fields
Engineer - David Baker
Assistant Engineer - Leon Lee Dorsey
Photography - Udo Spreitzenbarth
Design - Keiji Obata, Peter Muller [Littlefield & Company]

Ray Bryant Trio - Ray's Tribute To His Jazz Piano Friends (1998)

Though I have several recordings on which Ray Bryant appears, I had been unaware of who he is and where he fits in the musical scheme of things. Recently, while listening to several demo CDs, I came across his newest recording, The Ray Bryant Trio: Ray's Tribute to his Piano Friends, and fell in love with it. This is a recording that is not unlike Oscar Peterson's A Tribute to My Friends (Pablo PACD-2310-902-2, 1987) except that Bryant's tribute is to other Jazz pianists. 

The Usual Suspects. Bryant's choice of pianists to honor is no surprise, as are the compositions with which he pays tribute. Not only is the standard fare present, but many are songs already familiar to Bryant's repertoire. The surprise comes with the arrangements and performances. Surprise is really too mild a word. Bryant's treatment of these standard's standards is revelatory. I have not been so delighted with a piano trio treatment of standards since I first heard Gene Harris' performances with his own trio and as part of the Ray Brown Trio. 

That Old Time Religion. I have always favored Gene Harris' big, churchy, bluesey, orchestral sound and gospel influenced style. I came fully to that opinion when Harris emerged as the result of a lot of listening. I had spent a good bit of time and money looking for a pianist with a similar philosophy and sensibility as the late Count Basie without his economy of notes. When I first heard Harris' recording, Tribute to Count Basie (Concord CCD-4337, 1988), I knew I had found that sound I was looking for. Since discovering Harris, I had hoped that I could find a similar style in other piano players. I met with limited success (though I did scare up some fine music while looking). Bobby Timmons was very good, but uneven (and regretfully no longer with us). Monty Alexander is talented but too tropical. Benny Green has enormous technique but is too ornate (Oscar Peterson, also). Finally, I (gratefully) found that Ray Bryant possessed the sound, that sound, and played it with an impressive depth and breadth. He takes the standards included in this collection, and with loving care and precision, shines them through the prism of his soulful, gospel approach to product the best trio recording I have heard in some time. 

The Canon. The disc opens with "C Jam Blues." The piece begins with the straight Ellington introduction with Bryant's playing so big the listener can almost hear the horn section enter. About half way through, the drummer moves from the high hat to the ride cymbal and Bryant starts to swing so hard the listener is in danger of a nosebleed. The performance ends as confidently and proudly as it started. 

This is only the beginning of the standout performances. Bryant goes on to honor Ramsey Lewis with a spry "The "In" Crowd"; Dave Brubeck with a solid "The Duke" (with Brubeck's signature time and tempo orgies), and Horace Silver with a diamond hard bop, "Doodlin'". Vince Guaraldi is recognized with a Linus and Lucyish "Cast Your Fate to the Wind," and Count Basie in a rollicking, "Cute". 

The Heart of the Matter. Three of the remaining songs exist as absolute proof of the sanctity of improvisation and arranging in Jazz. Under Bryant's skillful hand "'Round Midnight" exercises for nine glorious minutes, passing from a straight ballad head into a calypso rainbow, compelled forth by Bryant's smart, two-fisted playing. Absolutely thrilling. Bobby Timmons' "Moanin'" is made even more Pentecostal than the composer's original trio version on This Here is Bobby Timmons. Bryant's left hand guides the choir while his right punctuates his preaching with "Amens" full of conviction. The final standout is Bryant's performance of Weather Report's "Birdland." It was this piece that sold the disc to me. Never having been a huge fan of fusion, my first hearing of Bryant's "Birdland" forced me to replace my vinyl copy of Heavy Weather with CD and to listen to what Joe Zawinul and Jaco Pastorius were really thinking with a better understanding. Bryant's trio reduction is precise and brilliant, not unlike Liszt's piano reductions of the Beethoven Symphonies. "Birdland" illustrates the profound adaptability of jazz to different performance styles. 

The Atomic Factor. Bryant's cohorts, Ray Drummond on Bass and Winard Harper on drums mesh effectively with the leader to produce a swinging cohesive unit. This is no better illustrated than on the last three songs discussed. This trio is less a rhythm section and more an entire orchestra. Tasteful is not how I would describe this trio's playing; necessary or essential might be more appropriate. This trio treated this music with the respect it deserves while transforming it in such a way that the listener can come to a different understanding of what jazz is all about. ~ by C Michael Bailey, AAJ.

JMI Jazz, JMI-7503-2, 1998
Recorded 26^th & 27^th June, 1997 Live At Sound On Sound Studios, New York City 

Musicians:
Ray Bryant - Piano
Ray Drummond - Bass
Winard Harper - Drums 

Tracks:
01. C Jam Blues {Duke Ellington} (5:15)
02. The "In" Crowd {Billy Page} (3:30)
03. The Duke {Dave Brubeck} (7:37)
04. Doodlin' {Horace Silver} (4:56)
05. Cast Your Fate To The Wind {Vince Guaraldi} (3:34)
06. Cute {Neal Hefti, Stanley Styne} (3:39)
07. 'Round Midnight {Thelonious Monk} (9:48)
08. Moanin' {Bobby Timmons} (7:02)
09. Sunshower {Kenny Barron} (5:53)
10. Hi-Fly {Jon Hendricks, Randy Weston} (5:44)
11. Birdland {Josef Zawinul} (5:37) 

Total Time: 62:35

Credits:
Producer - Larry Hathaway
Producer [Assistant] - Denny Prewitt
Engineer - Malcolm Addey
Engineer [Assistant] - Ray Salas
Graphic Design - Lisa Sparks-Glines
Photography - Jeanette Beckman
Creative Director - Sam Gay
Liner Notes - Scott Yanow