Neil Adler; Emi's Song

This thoughtful recording hits the bullseye from many considerations. Neil Adler is equally compelling on piano, chromatic harmonica, and as a composer. He also chooses material deserving to be heard more often. For example, Oliver Nelson's lovely offering “Yearning”, or Herbie Hancock's “Tell Me A Bedtime Story”. His deep felling on harmonica is heard on Jimmy Rowles' classic “The Peacocks” and a medley of the treasured standards “Tenderly” and “That's All”. But he turns to piano on a tender grouping of three rarely heard Bill Evans tunes. Not to be overlooked is Adler's chops on Charlie Parker's opus “Donna Lee”. On all these and more, Neil Adler gives us a musical pallet that is most assuredly his own wise, inclusive, and tasteful musical world. Highly recommended and fully satisfying may be an accurate way of describing what happens in listening to Neil Adler. 

EJA Records; 2024; appx. 63 min.

Jeff Rupert; It Gets Better

Let's say your name is Jeff Rupert and you play tenor saxophone. And let's say that somehow you get an opportunity to record with three present day jazz giants. People like Kenny Barron, Peter Washington, and Joe Farnsworth. You'd better jump at the chance, Mr. Rupert! And so, here we are with a Stan Getz-like tenor man and a dream rhythm section. With one exception the tunes are all “blowing session” type originals that swing with authority and are solidly at the heart of creative, wholly satisfying jazz. That one exception is Jimmy Van Heusen's forever tune “Like Someone In Love”. When he's not teaching at the University of Central Florida, Rupert busily plays in the very heart of the jazz tradition. Expressive, gimmick free, real deal sounds like you could have heard on Verve in the late fifties. We need more music like this because it fulfills us, gives us hope, and is darn good from note one to the last. And one more thing: thank you, Kenny Barron, for a career of piano excellence and excitement!

Rupe Media; 2024; appx. 57 min.

Diego Figueiredo; I Love Samba

Several years ago, I hired acoustic guitarist Diego Figueiredo to play at my concert series at Classic Pianos here in Portland, Oregon. To my surprise we had to add extra chairs to a sold out crowd. Everyone was awestruck that evening, and you will be too when you hear this astounding recording. Diego is from São Paulo, Brazil, and this recording reflects the joy, romanticism, and elegance of Brazilian samba. On the thirteen selections heard here, he plays solo on many, but is helped out by impressive colleagues on bass, drums, and flute on others. To be clear, Diego Figueiredo is a master of Brazilian style acoustic guitar. His music affirms a certain joyousness of life. It is filled with sunshine and beauty and will put a smile on your face.

Arbors Records; 2024; appx. 48 min.

Dave Liebman and the CNY Jazz Orchestra; If A White Horse From Jerusalem...

The unusual title to this recording refers to a four-part suite which opens the material here. The featured soloist is soprano saxophonist Dave Liebman who is less outside and if I may, avant garde, than what I've heard from him previously. Still, the suite is what we once called “experimental”. Now it might be better referred to as complex, dense, and probably for the ears of experienced jazz listeners. After the suite, stay on board for Bernstein's “Somewhere”; Rodgers and Hart's “Where Or When”; and even something called “Hip Hop Shuffle”, and it's more listenable than the name suggests. Some of us may have to stretch a bit, but there's a lot of heavy duty music here. Summon up your courage and give it a shot.

CNY Jazz Central; 2024; appx. 54 min.

The Planet D Nonet; Echoes of Harlem; A Salute to Duke Ellington, Vol. 2

Edward Kennedy Ellington lives on. It seems really hard to believe that Duke passed  over fifty years ago. But the proof of his artistic musical longevity lies in recordings like this one. This is a step into jazz history with a big band perfectly arranged to remind us of the greatness of Duke Ellington. Most of the tunes examined here are lesser known D E gems with titles like “Flirtbird”, “Addi”, “Juniflip”, “Happy Reunion”, “Azalea”, and “The Shepherd”. Also heard here are Ellington and Billy Strayhorn “hits” like “Rocks In My Bed”, “Blood Count”,  “Caravan”, and “Sophisticated Lady”. On all these and more the incredible Ellington stamp is front and center. Solos abound brilliantly here and the entire project is true to the magical Ellington spirit five decades after he passed on. Let me close by saying that guitar legend Kenny Burrell once did a series of LP's entitled “Ellington Is Forever”. I couldn't say it any better.

Eastlawn Records; probably 2024; 79:23

Dred Scott; Cali Mambo

Despite the horribly unfair historical connection with the Dred Scott decision, this happens to be a delightful, rhythmic and satisfying quartet led by pianist Dred Scott along with Tom Beckham, vibraphone; Matt Pavolka, bass; and Moses Patrou, percussion. The music certainly brings back wonderful memories of the classic “Shearing sound” although this group has its own sound and musical credentials. Having said that, the CD opens with “Cali Mambo”, written by---you guessed it---George Shearing! From there, the quartet settles into a very joyful menu of lightly Latin feeling, including “Star Eyes”,  “Poinciana”, “Footprints”, “Manteca”, and other delights. There is a formidable sense of togetherness here and nobody ever steps “out of bounds”. I'm certain that the late Mr. Shearing would be high-fiving this refreshing quartet!

Ropeadope; 2024; appx. 48 min.

Rose Mallett, Drama Realized

Those of you in or near my generation might remember a bluesy jazz singer named Dinah Washington. Well, along comes Rose Mallett, somewhat in the spirit of Dinah. Here and there she's a bit more contemporary than Dinah but it's not 1958 anymore if you know what I mean. With accompaniment provided by a number of skilled players, Mallett takes on some familiar fare like “Feelin' Good”, “Send In The Clowns”, “My Funny Valentine”, and a number of newer tunes. Her intonation is on target and she comes across as one who “feels” her material and cares about it as well. Rose Mallett covers quite a variety of tempos and moods, all done with enthusiastic presence.

Carrie-On Productions, 2023; appx. 53 min.