Ross Boissoneau’s roundup of recent jazz-related albums includes the Ali Ryerson Quartet, Rich Willey, Janis Siegel, Stickman, Schapiro 17 and others.
(Click through the main titles for purchase information.)
RICH WILLEY – ‘LAID BACK VOL. 1’: The cover shows people dancing on a tropical beach, and that accurately sums up the mood of much of this recording. The six horns of trumpet and tuba player Willey’s little big band complement the proceedings rather than serving as the focus of the music. Most predominant is Willey’s trumpet and its distaff cousin, the Electronic Valve Instrument, played by arranger/producer Carey Deadman. The bouncy title track opens the recording, the syncopated rhythms and organ transporting the listener to some sunny island getaway, before Deadman’s otherworldly sounds suggest maybe the island’s not even on this planet. “Triple Play” mines some of the same territory. Most of the tunes clock in at seven minutes or more, and they all give the soloists plenty of room to stretch out.
KEMUEL ROIG – ‘BOTH SIDES NOW’: The Cuban pianist mostly resists the temptation to demonstrate his considerable chops. That’s not easy, given his facility and the fact a solo piano album would seem to provide plenty of space in which to do so. His treatment of the Rascals classic “How Can I Be Sure” tugs at the heartstrings as much as the original, while his take on the Joni Mitchell-penned title track is taken at a slower-than-usual tempo, enhancing its wistfulness. On the other hand, his version of the Richard Rodgers/Lorenz Hart classic “My Romance” is altogether too lively, robbing it of some of its feeling.
JANIS SIEGEL – ‘THE ART OF VOCALESE’: With the 2023 retirement of the Manhattan Transfer, Siegel is concentrating on her solo career. As the title suggests, this recording finds her singing lyrics to what were instrumental jazz tunes. It’s always a challenge to create lyrics that fit in the often-tricky melodies and solos, and it can get tiring. On Charlie Parker’s “Back To Barbados,” which opens the album, Siegel sings vocalese master Jon Hendricks’s lyrics of homesickness and escape from city life to both Parker’s and Miles Davis’s solos. Her vocal trio JaLaLa steps out front on “It’s Sand, Man” and Raul Midón joins Siegel on “Bye Bye Blackbird,” singing the Miles Davis solo before delivering a vocal trumpet solo of his own. The album concludes on a surprising note: a vocalese version of the Average White Band’s 1974 pop hit “Pick Up The Pieces.” Here as elsewhere, Siegel’s voice stretches effortlessly to match the familiar melody.
BENJIE PORECKI – ‘FASTER THAN WE KNOW’: Fun and funky, with a nod to past crossover jazz. That starts on the opening “Chrysalis,” which brings to mind Joe Sample and the Crusaders. Elsewhere, Porecki’s giddy Rhodes runs are reminiscent of Chick Corea’s Mad Hatter or Secret Agent era or Jeff Lorber’s Jazz Funk Soul. One such example is “Right Direction,” a joy from the jump. Porecki is as comfortable with acoustic as electric, as “Moving On” demonstrates. The gentle title track closes the album on a wistful note. He melds his influences into a whole that is enjoyable and listenable throughout. Porecki’s eighth album is highly recommended.
ALI RYERSON QUARTET – ‘THE ALI RYERSON QUARTET’: Ali Ryerson has long been one of the bright lights on the jazz flute scene, and this release is further proof why. Her flute has always been easy to listen to, and she’s gathered together a band that supports her while doing the same. She has a thing for mixing together classics with her own compositions, as on the opening tune, mashing together her “Chuck’s Time” with Miles Davis’s “Solar.” Her band acquits itself ably. Bassist Lou Pappas steps out for a lengthy solo on “Before Today/Yesterdays” before Ryerson’s flute returns. She turns to alto flute at times, as on a lovely “Começar de Novo.” Her own “AliCat Blues” is a soulful strut, featuring Ryerson and pianist Larry Ham. Bonus points for the clever title.
STICKMAN – ‘DIRECT MESSAGE’: This independent group out of the Washington, D.C. area (not to be confused with King Crimson bassist Tony Levin’s band Stickmen) embraces melody and groove in sophisticated jazz-pop-fusion, occasionally including vocals. Guitarist Matt Rinker (who passed away before the recording was released) and saxophonist Peter Frazie get the bulk of the solo space, complementing the vocals of Dawn Elliot, who occasionally subsumes her voice into the mix as another instrumental voice. Bassist Liza Albright, drummer Francis Thompson and keyboardist Jim Leavy, who all contribute backing vocals as well, set up grooves for the others to dance around. It doesn’t always work – the frenetic free blowing of “Monkey” simply gets tiresome. The concluding “Diminishing Returns,” with Elliot singing in tandem with Frazie or Beard and solos from sax, synth and guitar, simply goes on too long. On the other hand, the pulsing “Direct Message” includes most of those elements in a more concise and enjoyable package.
CONRAD HERWIG – ‘THE LATIN SIDE OF CHICK COREA’: Trombonist Conrad Herwig has gathered together a phalanx of world-class musicians to revisit the music of the inimitable Chick Corea. Included are Corea standards such as “500 Miles High,” “Humpty Dumpty,” “Crystal Silence,” and of course “Spain.” Herwig’s trombone solos are often a focus, but the other horns – Craig Handy on sax and flute and Alex Norris on trumpet – get their share of space as well. The arrangements are thoughtful reinterpretations of Corea’s mastery, particularly the resetting of “Spain.” The rhythm section provides the Latin grooves. In the liner notes, Herwig says the goal is “a blend of tribute, imagination and transformation.” Mission accomplished.
SHAPIRO 17 – ‘BEST LAID PLANS’: Big bands can swing from Basie to Ellingtonian voicings, from cascading, screaming trumpets ala Maynard to the technobop of Jazzrausch Bigband. Which leads to plaudits for Schapiro 17 for its ambition. Thing is, it’s not an easy listen. True, neither was a lot of Don Ellis’s music. But while Ellis, Stan Kenton and Gil Evans utilized multiple drummers or bassists, synthesizers, mellophones and quarter-tone trumpets, they made the music engaging. That’s lacking here. There’s not a lot in the way of hummable melodies in the wry arrangements. These are obviously accomplished players, with interesting voicings, such as on “Solace” and the title track, with saxes leading the way. Overall, it is more interesting than appealing.
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