Dan Weiss, Bobby Broom, Judith Owen and others are part of the latest edition of Five for the Road, an occasional look at music that’s been in my car lately:
BOBBY BROOM ORGANI-SATION – JAMALOT LIVE (JAZZ): On the heels of his production of the 2023 release by saxophonist Ron Blake, Bobby Broom steps back into the bandleader role with Jamalot Live. This Steele Records release is his first since 2022’s acclaimed Keyed Up. Broom again works with Hammond B-3 ace Ben Paterson and long-time drummer Kobe Watkins for a group of live recordings, some of which date back more than 10 years. The album title refers to a Steely Dan tour where Bobby Broom was asked to open for the band in 2014 and 2019. Indeed, most of these recordings were pulled from that tour, and select dates were from Chicago’s fabled Jazz Showcase. Broom and his band stick to covers and standards, but his interpretations are always unique and nuanced.
The Stevie Wonder classic “Superstition,” performed at the War Memorial Auditorium in Greensboro, jumps out of the speakers. The song is funky, allowing both Broom and Paterson room to stretch.
“The Tennessee Waltz,” from the Ryman Auditorium in Nashville, showcases Watkins’ rim work and empathetic playing. Bobby Broom’s tone shines in each of these songs. “Jitterbug Waltz” from Broom’s brilliant 2014 release My Shining Hour remains a favorite of mine. Watkins’ shuffle is infectious, while Paterson’s melodic organ fills and passionate soloing underline Broom’s stunning work on his Keontopp electric guitar. Credit must be given to Peter D. Thompson and Timothy Powell for capturing their performances in all their glory. My only quibble with the album is that 10 tracks aren’t enough to satisfy this listener. That criticism aside, the Bobby Broom Organi-Sation’s Jamalot Live is almost as joyous as seeing the trio live.
JUDITH OWEN – JUDITH OWEN COMES ALIVE (JAZZ): Judith Owen frequently walks the high wire without a net. She is an accomplished singer and songwriter with a long career singing her bold compositions and is an equally accomplished pianist. Her latest release, Judith Owen Come Alive, arrives hot on the heels of the R&B-inflected Come On and Get It. One of the most daring live performers on the road today, Owen has developed a near-telepathic relationship with her current jazz band, New Orleans-based Gentlemen Callers. The result is the energy and enthusiasm typical of Owen’s album in a fantastic live jazz setting. These 16 tracks build and build in intensity. Owen and her band don’t play it safe with her arrangements for these wonderful American Songbook songs. “Lady Be Good” is a beautiful example of Owen’s vocal stylings and prowess as an arranger. A champion of female jazz and R&B singers, Owen combines her usual flare with touches of New Orleans sass and her incredible phasing. After the first verse of “Lady Be Good,” the listener is locked in and eager to journey with Owen and Her Gentlemen Callers.
“Satchel Mouth Baby” swings with authority. Owen’s voice dances with the rhythm section while the trumpet solo conjures a different time and place. “Skylark,” another American songbook classic, is given new life by Judith Owen. Her pleading vocals and the melodic electric guitar accompaniment are beyond captivating, while the end tenor solo will bring a tear to your eye. “The Spinach Song” is a delightful and swinging surprise. Her interpretation proves that she can do no wrong, and the Gentlemen Callers are up for the challenge. The song, with its double entendre, is a swinging masterpiece. The album-closing “Real Gone Guy” justifiably has the audience clapping along. Owen doubles down on the swing with her nuanced delivery and lively phasing. Sensing her enthusiasm, the band reflects it back to her with a jumping rhythm and sax and bass solos that will leave the listener with their mouth agape. Judith Owen Comes Alive is brilliant. It’s also a great companion to 2022’s Come On and Get It. I hope to see Owen perform these great songs soon. In the meantime, this LP and her eye-opening podcast, Unapologetically Judith Owen, will have to suffice.
DAN WEISS – EVEN ODDS (JAZZ): Dan Weiss has delivered 20 challenging compositions for his Cygnus Recordings album, Even Odds. Out now, the album features Matt Mitchell on piano and Miguel Zenon on alto sax. Given the acumen of this three-person band, one would expect a fascinating album. “It Is What It Is,” the opening song, exceeds expectations. Weiss’ drumming is powerful and nuanced. Mitchell and Zenon’s interaction is equally captivating. Combining compositional and improvised songs, Even Odds showcases Weiss’ high-wire walking style with more traditional arranging approaches. Some of these songs are concepts that Weiss threw out to the band and developed for the album, evoking several emotions – yet all have an enchanting core. “The Children of Uvalde” captures the title’s theme with the respect and power it deserves. Zenon’s solo is melodically rich, while Dan Weiss’ ride and snare work is tricky yet complements the song’s melodic core.
“Recover the Mindset” is a terrific and brief rhythmic spellbinding workout. “Five to Nine” evokes more traditional jazz standards. Yet, the rhythmic interplay between Weiss, Zenon, and Mitchell creates a flight of fancy which leaves the listener wondering where the composition is going yet being very grateful for the ride. Even Odds is a motif that ran through Weiss’ writing and arranging of the album. The songs are inventive, pushing the three musicians to explore the essence of each composition. Experiencing the album repeatedly offers discoveries of what was missed on each prior listen. Even in the jazz world, that’s an unusual trait and testament to Weiss’ musicianship and musical daring.
KABIR DALAWARI – LAST CALL (JAZZ): Produced by Matt Ulery, Last Call by Chicago-based drummer Kabir Dalwari is more than the sum of its parts. The album, out now at Shifting Paradigm Records, showcases Dalawari’s compositional skills and his drumming talent. The bandleader assembled a powerful group of players to bring forth his vision, including Stephen Parisi Jr. on bass, longtime collaborator Kyle Brooks on alto sax, Joshua Achiron on guitar, Nicholas Olynciw on piano, and Chris Madsen on tenor sax. Dalawari took on the heady task of topping 2022’s stellar 2022 Awareness. Judging from the seven expressive compositions, he has more than met the challenge. The opening bass and piano passages from the title track are magical. According to Dalawari, the song was inspired by his need to move forward personally and professionally. The results are gorgeous with sprinkles of Madsen’s expressive tenor work and Dalawar’s stunning yet subtle snare and cymbal work. Brooks and Parisi add textures to the arrangement too, before Dalwari brings the themes home with an evocative drum solo.
“For Ma” is a nuanced piece with prominent bass work by Parisi; Madsen and Brooks advance the primary musical theme. Producer Ulery has sympathetically supported Dalawari’s musical vision, allowing each player to shine. Achiron’s subtlety on electric guitar is appreciated, as is the rim work from Dalawari. “Turbulence” adds more chaos and adventure to the proceedings. Achiron plays off Dalawari’s complex rhythmic foundation while Brooks continues the central musical theme before Madsen moves the song in a different direction. Complex, daring, and utterly engaging, “Turbulence” is an excellent piece of music among six other gems. Last Call is a worthy follow-up to Dalawar’s stunning debut and is available now on Bandcamp, as well as other digital music sources.
GALACTIC TIDE featuring ANDY TIMMONS – THE HAAS COMPANY VOL. 1 (JAZZ): Keyboardist Pete Dingle and drummer Steve Haas collaborated with former Simon Phillips Protocol guitarist Andy Timmons to produce the forward-leaning Haas Company Vol. 1. Under the moniker Galactic Tide, the band’s nine jazz-fusion compositions were written, arranged, and produced by Dingle. Pete Gallio is featured on sax, along with bassists Kirwan Brown and Al MacDowell. The partnership of Haas and Dingle is almost telepathic, with Haas’ powerful drumming bringing out the dynamics of Dingle’s compositions. Dingle’s compositions are dynamic, riveting, and offer plenty of room for the band’s interpretations of his arrangements. “1979” is an epic, with Timmons dancing around Haas’ powerful drum work and Dingle’s synths and electric piano touches. Kirwan Brown handles bass on the first six songs, keeping a steady and sympathetic rhythm while Hass makes short work of the odd times signature.
Percussionist Mauro Refosco is brought in as a guest on the equally moving “Stockholm Syndrome.” Additionally, the late Wallace Roney makes similarly impressive contributions. The result is a jazz-funk workout where Timmons and Dingle establish the central theme over a syncopated backing of Haas and Refosco. Timmons’ soloing is rhythmic and forceful, while Roney’s trumpet work is subtle, evocative, and effective. The album-closing “Arrow of Time” ramps up energy even more. The track, which features bassist Al MacDowell, starts with a driving Hass backbeat that mingles with Dingle’s texture synth work. Timmons and sax player Pete Gallio harmonize, providing the song’s central theme before Timmons makes an initial subtle musical statement with his solo. Dingle’s keyboard touches, Haas’s drumming, and Timmons build in dynamics in the middle section before Gaillio’s wailing solo. “Arrow of Time” is over before you know it. However, Haas, Dingle, Timmons and the rest of the band will leave you satisfied and wanting more. The Haas Company Vol. 1 is out on Psychiatric Records and Tapes.
