Jazz/Blues reviews, by Ron Wynn

Freddie Hubbard
"Pinnacle: Live & Unreleased from Keystone Korner
(Resonance)

Trumpet great Freddie Hubbard may have passed his hit recording days when these sessions were done at San Francisco's Keystone Korner in 1980, but his incomparable technique was still intact. The speed, range and ferocity of Hubbard's playing is uniformly impressive over this seven-song program that matches him with two sets of supporting musicians. Only pianist Billy Childs, who proves a superb second soloist and rhythm section partner, and bassist Larry Klein were with him on every selection. On a couple of selections trombonist Phil Ranelin and tenor saxophonist David Schnitter were his frontline mates. Other times only saxophonist Hadley Caliman was a partner, while Eddie Marshall and Sinclair Lott divided drum duties. The songs were also extensive (none less than seven minutes and a couple over 10), energetically performed and designed to showcase both group cohesion and individual prowess.

New Jazz/Blues Reviews, by Ron Wynn

Reviewed this month:

Mark Sherman, "The L.A Sessions" (Miles High)
Volker Strifler, "Let the Music Rise" (Vizztone"
Frank Sinatra, "The Concert Sinatra" (Concord)
Tony Bennett, "Isn't It Romantic"  (Concord)

Jazz & Blues Reviews, By Ron Wynn

Ruthie Foster, "Let It Burn" (Blue Corn)
Jeff Hamilton, "Red Sparkle" (Capri) 

Jeff Hamilton's reigned among jazz's finest drummers for over 30 years, and still plays with an admirable ferocity and swing. While that pace is ideal for a big band, it's no less desirable heading a small combo. "Red Sparkle," which will be released Feb. 21, is the newest work from his longtime trio. Hamilton had his own unit since leaving the Ray Brown Trio in 1995. But just as his big band doesn't operate in a predictable fashion, neither does this threesome that includes splendid bassist Christoph Luty and marvelous pianist Tamir Hendelman. They operate as three expert improvisers, each capable of setting a song's direction. But they also easily mesh into a cohesive unit. They excel in a varied setting on "Red Sparkle."

I've been listening to jazz for a long time. I first started actively paying attention to the music when I was fourteen. I'll be sixty-one this year. I'm pretty sure that's closing in on fifty years of listening. What that means is I've heard a lot of recorded solos. To pick five favorites out of the thousands I've heard might be considered a fool's errand. Like those annoying questions, "What's your favorite movie?" or "What's the best book you've ever read?". I think for most people the answers to those questions are moving targets. It certainly is for me. Likewise, a list of my five favorite jazz solos depends on a lot of variables. Like what the weather is, or what day of the week it is. But, for today anyway, here's list of my five favorites. P. S.: The top two never change. These are non-negotiable unless someone really, really good comes along.

Has the Nashville Jazz Orchestra found a new home? Those of us in attendance at the Monday night debut appearance at downtown club Jazz & Jokes certainly hope so! The location, former home of Cafe Milano, had been vacant for some time. Jazz & Jokes spruced the place up and opened in that location some months back, presenting both comedy and musical acts. This may be J&J's first foray into straight-ahead jazz, and we hope it won't be their last.

Join me for a trip back to the thrilling days of the sixties. And, you know, it's all the fault of Miles Davis. It's 1969. The country is about to explode in more ways than we could count. So, naturally, Miles picks that year to start work on what was to be his most controversial recording, "Bitches Brew". This record literally changed the face of jazz (albeit kicking and screaming) for the next ten years. No longer could the world of jazz ignore the world of rock. Davis brought these two styles together with no apologies or concessions. Suddenly, jazz was starting to have as much in common with Jimi Hendrix as it did with Charlie Parker. The mostly younger musicians who made up the personnel on "Bitches Brew" reads like a roster of jazz all-stars: Wayne Shorter, Joe Zawinul, John McLaughlin, Dave Holland, Jack DeJohnette, Airto and Chick Corea. Try hiring that band today! This group of players (and others) were interested in taking jazz in a new direction. Incorporating rock rhythms and the use of electronics the sound of jazz was changing at light speed. The music that emerged from this period was called, for obvious reasons, "fusion". Young jazz musicians embraced "fusion" while the older players belittled it as being all flash and no substance.

The Imer Santiago Quintet featuring Roland Barber (trombone and shells), Tyson Rogers (piano), John Westbury (drums), Ivan Santiago (bass), and Imer Santiago (trumpet and flugelhorn) performed two sets of diverse and original material at the Jazz Cave, Sunday April 3, as part of the Nashville Jazz Workshop's monthly Contemporary Jazz Series.

On Friday, April 1, the 15 piece Afro-Cuban All-Stars, led by Juan de Marcos Gonzalez, blew onto Vanderbilt University's campus, like a balmy and elegant tropical breeze.  Among the many highlights of the evening, was the appearance by Evelio Galan, considered by many as one of the finest Cuban singers. For nearly two hours, the Afro-Cuban All Stars had the audience on their feet, singing and dancing in the aisles, in their seats, and in the case of two very "enthusiastic"  young ladies, on stage.  Three encores later, the Langford Auditorium was still swaying in their wake.

Grammy Winning guitarist Larry Carlton plays the Schermerhorn Symphony Center on Friday, September 30, 2011 at 8:00 pm. 

Story by Austin Bealmear

The following article includes parts of a phone interview conducted in late August. Mr. Carlton was friendly and gracious, in spite of my questions, which, as I told him, I was sure he had been asked a million times.