JAM Magazine: April/May 1996 Issue: For The Record

The Kansas City Boulevard Big Band
STELLAR
Sea Breeze Jazz SB 2075

Personnel: Eric Marienthal (guest soloist), alto & tenor saxophone; Michael McGraw, leader & trumpet; Vince Gnojek, Craig Treinen, Paul Haar, Bill Caldwell, John White, Dan Gailey, Todd Wilkinson, Doug Talley, saxophones; Jay Sollenberger, Danny O'Brien, Al Pearson, Dave Aaberg, Chuck Tumlinson, trumpets; Jim Caan, Greg Finch, Matt Kern, David Vining, Dennis McGraw, John Tranter, Lee Hill Kavanaugh, trombone; Wayne Hawkins, piano; Tim Brewer, bass; Rob Whitsitt, guitar; Todd Strait, drums; Todd Wilkinson, congas (trk 4); Jay Albright, steel drum (trk 4)

Tracks: Attack of the Tenor Titans, Mendoza Line, In Your Tender Care, St. Thomas, Get a Life, The Meaning of the Blues, Another Anchovy, Just Below the Surface, A Matter of Time, Boulevard Bossa, Stellar

Recorded at Soundtrek Studios, Kansas City, MO

As I sit here using my multimedia PC to play this CD, I can't help thinking that technology has certainly come a long way since my first hi-fi set. I am also thinking how much I enjoy listening to this wonderful band.

This is a very well balanced album. And it includes something for everyone. There are plenty of big sounds that can only be generated by twenty or so talented jazz musicians playing together; there are many quiet, beautifully melodic passages featuring only a few musicians at a time; and there is a wide range of improvisational settings in which the soloists can stretch out. It's an album with full, broad harmonies and unisons, up tempos, slow tempos, Latin tempos, and just plain straight ahead swingers.

All but two of the tracks were either composed or arranged, or both, by band members Dan Gailey, Chuck Tumlinson and Dave Aaberg. The first cut, "Attack Of The Tenor Titans," is a fiery up- tempo showcase for the improvisational talents of Bill Caldwell (one of Kansas City's premier saxophonists) and special guest Eric Marienthal, featured here on tenor. The Latin rock feel of "Mendoza Line" displays the good work of the rhythm section, including solos by guitarist Rob Whitsitt and drummer Todd Strait. Paul Haar delivers a beautiful and lyrical improvisation on soprano sax.

"In Your Tender Care" is a ballad that gives Marienthal an extended opportunity to display the range of his artistry, this time on alto. Chuck Tumlinson's bright, cheerful arrangement of Sonny Rollins' "St. Thomas" gives the band a chance to do some intricate section work, an opportunity for lead trumpet player Jay Sollenberger to solo, and another alto solo from Marienthal.

"Get a Life" is a swinging up-tempo blues with some wonderful ensemble work, as well as solos by Al Pearson on trumpet, Greg Finch on trombone, and Wayne Hawkins on piano. Bill Caldwell has a chance to really show off his tenor saxophone artistry on Dan Gailey's arrangement of the soulful "The Meaning Of The Blues."

The whole band jumps out of the speakers on "Another Anchovy," dropping back to feature Wayne Hawkins on piano, and Dave Aaberg (the composer and arranger) on trumpet, then returning for a big finish. "Just Below The Surface" is a descriptive title for the subtle beginning and end to this Dan Gailey composition, featuring Gailey on tenor sax and Tim Brewer on bass.

"A Matter Of Time" begins unobtrusively enough with only a piano, adds rhythm, a couple of unison horns, continues to build, then drops back to feature Vince Gnojek on soprano saxophone and Wayne Hawkins on piano. The melodic "Boulevard Bossa" features Jim Cann on trombone, and "Stellar," the tune for which the CD is named, is an energetic upbeat variation of the old standard "Stella By Starlight." It features some excellent section work, the tenor of Bill Caldwell, and the trumpet of composer/arranger Chuck Tumlinson.

This is a terrific CD. And it covers the spectrum of big band sound and capability beautifully. It is 65 minutes of pure listening pleasure and is highly recommended.

-- Jerry Landsbaum

(Catch the Boulevard Big Band when it alternates Mondays with the Trilogy Big Band at the Drum Room, 1020 Westport Road. -- Ed.)

Ed Pharr Trio
BEST GIG IN TOWN

Personnel: Ed Pharr, piano; Lonnie Elliott, bass; Allen Unklesbay, drums

Tracks: Emily, Remember, Champagne and Stars, If You Could See Me Now, So Long Sadness, New Way, Shadow Dance, Capri, Lonnie Logic, Nightshade, Allen's Waltz, What Is This Thing Called Love, Full Bloom, Four-Six-Nine

Recorded September 1995 at Sound Trek Studio, Kansas City, MO

Kansas City pianist Ed Pharr has released a new CD entitled Best Gig in Town, and with it he has captured the finely formed sound of the traditional jazz trio. Ten of the 14 songs here are original compositions from the pen of the leader.

From the free flowing "Champagne and Stars" to the Latin-tinged "So Long Sadness," this release is filled with first rate writing. And with a variety of sounds. "Nightshade" is soft and lovely, while "Capri" evokes a blissful, tropical island feel. "Lonnie Logic" and "Allen's Waltz," both written by Pharr, were presumably inspired by the other two thirds of the trio. There are four standards: Cole Porter's "What Is This Thing Called Love," Irving Berlin's "Remember," the Mercer/Mandel "Emily," and Tadd Dameron's "If You Could See Me Now." All are played with great skill.

The strongest thing about this album is how the trio plays as a team, with all players heard equally in a tight and talented ensemble. Ed Pharr is a gifted pianist with just the right touch; and bassist Lonnie Elliott and drummer Allen Unklesbay provide solid core backup, giving the group all the right shades and strokes.

Best Gig in Town has a nice "supper club" kind of feel to it. And if you'd like to experience this music live, the Ed Pharr Trio can be heard at Club 427, Jardine's and other area jazz venues.

To hear the trio without distraction, however, pick up this CD. It's a surprising and enjoyable find. You won't be disappointed.

-- Vanessa Barnard

Peter Erskine
FROM KENTON TO NOW
Fuzzy Music PEPCD 003

Personnel: Richard Torres, tenor saxophone; Alan Pasqua, piano; David Carpenter, bass; Peter Erskine, drums

Tracks: L.A. Stomp, Blues For All, Happy Day, Artistry In Rhythm, I Love You (Sweetheart of All My Dreams), Modern Drummer Blues, Intermission Riff, The Park, Richard's Blues, Constance

Recorded April 30, 1995 at Mad Hatter Studio, Los Angeles

In the liner notes for his new album From Kenton To Now, Peter Erskine states that "this is a small group recording which came about by way of the crossroads of the big band."

In truth, it is a labor of love and a tip of the musical hat to one of the fathers of us all, the maestro, Stan Kenton.

"Stan gave so many of us our first chance," says Erskine. "We have all benefited from his generosity, perseverance, and belief in jazz." It is with this album that he salutes his former mentor and inspiration, having gathered around him some of Stan's best sidemen from the 1970s.

Erskine's main collaborator on this project is tenor saxophonist Richard Torres, who was one of the premier solo voices of Kenton's band when drummer Erskine came aboard in July of 1972. He joins pianist Alan Pasqua, bassist Dave Carpenter and Erskine, making a fine quartet of mostly Kenton alumni (only Carpenter never played for Stan, but his credits include Buddy Rich, Woody Herman, Bill Holman and Maynard Ferguson).

Torres tenor is a very interesting blend of then and now, rather modern but with strong echoes of many other voices -- Webster through Coltrane and beyond. He is constantly in control, and blows through all ten tunes with confidence and aggressive swing.

It is Pasqua, however, who really impresses. His dossier includes a wildly eclectic list of experiences from Tony William's New Lifetime, all the way to one of Bob Dylan's touring bands. He is an exciting player -- an excellent craftsman who is both a superb soloist and an outstanding accompanist. It is his playing that rises above the rest (and the other three can really play!). Each piano solo is in itself worth the price of admission.

Six of the ten compositions presented here are from the pen of Torres, and, for the most part, are fine tunes -- mainstream straight ahead, and very enjoyable. Because of the nature of the project and the nostalgia generated, two favorites are from the Kenton book: Stan's "Artistry in Rhythm," and Ray Wetzel's "Intermission Riff."

Erskine's career with Kenton goes back a long way. To the age of seven, as a matter of fact. In 1961, Peter and his family showed up in Bloomington, Indiana to participate in one of the earliest Stan Kenton Jazz Camps. Upon arrival, they learned that the minimum age was fourteen. Since they had traveled all the way from New Jersey, Stan agreed to audition the seven year old drummer and concluded that he could stay. (There is a rather well known picture of young Erskine playing with Kenton looking over his shoulder.)

It is this long relationship that Peter Erskine celebrates here. No new musical soil is turned, but the sounds are fine, and the production (thanks to Erskine's new record label, Fuzzy Music) is outstanding.

Stan would be proud.

-- John Leisenring

John Stein
HUSTLE UP!
Tightly Knit Jazz KFW 172

Personnel: John Stein, guitar; Bruce Torff, piano; Marshall Wood, bass; Les Harris, Sr., drums; Dave Lima, Hammond organ; Dave Hurst, drums

Tracks: Poor Butterfly, Eleanor's Folly, Lingering, Hustle Up!, Sarenna, Hannita, Bye Bye Blackbird, Indian Summer, Elizabeth, Bootin' It

Recorded at the Berklee College of Music (Studio B), Boston, MA

There's nothing more satisfying than popping a new CD into the player and, from the very first run-through, you're glad you own it. Without question, John Stein's debut, Hustle Up!, is that kind of album.

Reminiscent of the warm, intimate jazz rooms of the late '50s and early '60s, Hustle Up! takes you back to a time when clean, straight-ahead jazz was the main course.

...Picture yourself nestled securely in a corner table enjoying your favorite taste. Opaque shapes of ghostly smoke appear blue and purple through the jazz club's soft lighting capturing a glow that draws you closer and closer to those around you. With the reassuring sounds of jazz embracing your thoughts, the visual and aural experience becomes complete.

You start the night off with a pleasing melody. "Poor Butterfly" serenades you with a lilt so enticing you think later on you might get lucky. "Eleanor's Folly" gets your blood moving with a pulsating blues in 3/4. "Lingering" time then arrives and you slow down to collect your senses... just when a haunting Hammond organ calls you back to a reflective mood.

Next it's time to "Hustle Up!" as Stein's guitar punctuates the air and Dave Limina's Hammond and Dave Hurst's drums add even more supportive voices to this new groove. Suddenly, you look around the room and notice a lovely Latin "Sarenna." Passion and melody blend with the sensuous urgings of an understanding keyboard. Courage and determination resound into a "Hannita" and you're certain this conversation will last and last. Spirits soar and you're excited that tonight will not be the typical "Bye Bye Blackbird" that flies away, but rather a song of love empowered with energy and strength to return home. Oh, what an "Indian Summer" it could be! ...A walk in the woods colors thoughts of optimism and promise.

Finally, the bartender awakens your reverie and tells you to start "Bootin' It" along because this song has no place for a idle chat.

This CD consists of three standards and seven original compositions that take you on such a journey of mind and memory. Interpreted by two different bands, a quartet and an organ trio, Hustle Up! captures the mood of a bygone era. The weave and continuity of songs certainly evokes a live session of decades past. John Stein has done his homework.

This is a solid effort by journeyman jazz musicians. The shared improvisational work by all players is on the mark. No one is out of place or obtrusive in the respective ensembles.

Hustle Up! is a "Tightly Knit" CD that deserves your attention.

-- J.P. Makus

(Contact Tightly Knit Records at 212-219-3006 -- Ed.)

RETURN TO APRIL/MAY 1996 MAIN INDEX

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© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		The Kansas City Boulevard Big Band STELLAR Sea Breeze Jazz SB 2075 Personnel: Eric Marienthal (guest soloist), alto & tenor saxophone; Michael McGraw, leader & trumpet; Vince Gnojek, Craig Treinen, Paul Haar, Bill Caldwell, John White, Dan Gailey, Todd Wilkinson, Doug Talley, saxophones; Jay Sollenberger, Danny O'Brien, Al Pearson, Dave Aaberg, Chuck Tumlinson, trumpets; Jim Caan, Greg Finch, Matt Kern, David Vining, Dennis McGraw, John Tranter, Lee Hill Kavanaugh, trombone; Wayne Hawkins, piano; Tim Brewer, bass; Rob Whitsitt, guitar; Todd Strait, drums; Todd Wilkinson, congas (trk 4); Jay Albright, steel drum (trk 4) Tracks: Attack of the Tenor Titans, Mendoza Line, In Your Tender Care, St. Thomas, Get a Life, The Meaning of the Blues, Another Anchovy, Just Below the Surface, A Matter of Time, Boulevard Bossa, Stellar Recorded at Soundtrek Studios, Kansas City, MO As I sit here using my multimedia PC to play this CD, I can't help thinking that technology has certainly come a long way since my first hi-fi set. I am also thinking how much I enjoy listening to this wonderful band. This is a very well balanced album. And it includes something for everyone. There are plenty of big sounds that can only be generated by twenty or so talented jazz musicians playing together; there are many quiet, beautifully melodic passages featuring only a few musicians at a time; and there is a wide range of improvisational settings in which the soloists can stretch out. It's an album with full, broad harmonies and unisons, up tempos, slow tempos, Latin tempos, and just plain straight ahead swingers. All but two of the tracks were either composed or arranged, or both, by band members Dan Gailey, Chuck Tumlinson and Dave Aaberg. The first cut, "Attack Of The Tenor Titans," is a fiery up- tempo showcase for the improvisational talents of Bill Caldwell (one of Kansas City's premier saxophonists) and special guest Eric Marienthal, featured here on tenor. The Latin rock feel of "Mendoza Line" displays the good work of the rhythm section, including solos by guitarist Rob Whitsitt and drummer Todd Strait. Paul Haar delivers a beautiful and lyrical improvisation on soprano sax. "In Your Tender Care" is a ballad that gives Marienthal an extended opportunity to display the range of his artistry, this time on alto. Chuck Tumlinson's bright, cheerful arrangement of Sonny Rollins' "St. Thomas" gives the band a chance to do some intricate section work, an opportunity for lead trumpet player Jay Sollenberger to solo, and another alto solo from Marienthal. "Get a Life" is a swinging up-tempo blues with some wonderful ensemble work, as well as solos by Al Pearson on trumpet, Greg Finch on trombone, and Wayne Hawkins on piano. Bill Caldwell has a chance to really show off his tenor saxophone artistry on Dan Gailey's arrangement of the soulful "The Meaning Of The Blues." The whole band jumps out of the speakers on "Another Anchovy," dropping back to feature Wayne Hawkins on piano, and Dave Aaberg (the composer and arranger) on trumpet, then returning for a big finish. "Just Below The Surface" is a descriptive title for the subtle beginning and end to this Dan Gailey composition, featuring Gailey on tenor sax and Tim Brewer on bass. "A Matter Of Time" begins unobtrusively enough with only a piano, adds rhythm, a couple of unison horns, continues to build, then drops back to feature Vince Gnojek on soprano saxophone and Wayne Hawkins on piano. The melodic "Boulevard Bossa" features Jim Cann on trombone, and "Stellar," the tune for which the CD is named, is an energetic upbeat variation of the old standard "Stella By Starlight." It features some excellent section work, the tenor of Bill Caldwell, and the trumpet of composer/arranger Chuck Tumlinson. This is a terrific CD. And it covers the spectrum of big band sound and capability beautifully. It is 65 minutes of pure listening pleasure and is highly recommended. -- Jerry Landsbaum (Catch the Boulevard Big Band when it alternates Mondays with the Trilogy Big Band at the Drum Room, 1020 Westport Road. -- Ed.) Ed Pharr Trio BEST GIG IN TOWN Personnel: Ed Pharr, piano; Lonnie Elliott, bass; Allen Unklesbay, drums Tracks: Emily, Remember, Champagne and Stars, If You Could See Me Now, So Long Sadness, New Way, Shadow Dance, Capri, Lonnie Logic, Nightshade, Allen's Waltz, What Is This Thing Called Love, Full Bloom, Four-Six-Nine Recorded September 1995 at Sound Trek Studio, Kansas City, MO Kansas City pianist Ed Pharr has released a new CD entitled Best Gig in Town, and with it he has captured the finely formed sound of the traditional jazz trio. Ten of the 14 songs here are original compositions from the pen of the leader. From the free flowing "Champagne and Stars" to the Latin-tinged "So Long Sadness," this release is filled with first rate writing. And with a variety of sounds. "Nightshade" is soft and lovely, while "Capri" evokes a blissful, tropical island feel. "Lonnie Logic" and "Allen's Waltz," both written by Pharr, were presumably inspired by the other two thirds of the trio. There are four standards: Cole Porter's "What Is This Thing Called Love," Irving Berlin's "Remember," the Mercer/Mandel "Emily," and Tadd Dameron's "If You Could See Me Now." All are played with great skill. The strongest thing about this album is how the trio plays as a team, with all players heard equally in a tight and talented ensemble. Ed Pharr is a gifted pianist with just the right touch; and bassist Lonnie Elliott and drummer Allen Unklesbay provide solid core backup, giving the group all the right shades and strokes. Best Gig in Town has a nice "supper club" kind of feel to it. And if you'd like to experience this music live, the Ed Pharr Trio can be heard at Club 427, Jardine's and other area jazz venues. To hear the trio without distraction, however, pick up this CD. It's a surprising and enjoyable find. You won't be disappointed. -- Vanessa Barnard Peter Erskine FROM KENTON TO NOW Fuzzy Music PEPCD 003 Personnel: Richard Torres, tenor saxophone; Alan Pasqua, piano; David Carpenter, bass; Peter Erskine, drums Tracks: L.A. Stomp, Blues For All, Happy Day, Artistry In Rhythm, I Love You (Sweetheart of All My Dreams), Modern Drummer Blues, Intermission Riff, The Park, Richard's Blues, Constance Recorded April 30, 1995 at Mad Hatter Studio, Los Angeles In the liner notes for his new album From Kenton To Now, Peter Erskine states that "this is a small group recording which came about by way of the crossroads of the big band." In truth, it is a labor of love and a tip of the musical hat to one of the fathers of us all, the maestro, Stan Kenton. "Stan gave so many of us our first chance," says Erskine. "We have all benefited from his generosity, perseverance, and belief in jazz." It is with this album that he salutes his former mentor and inspiration, having gathered around him some of Stan's best sidemen from the 1970s. Erskine's main collaborator on this project is tenor saxophonist Richard Torres, who was one of the premier solo voices of Kenton's band when drummer Erskine came aboard in July of 1972. He joins pianist Alan Pasqua, bassist Dave Carpenter and Erskine, making a fine quartet of mostly Kenton alumni (only Carpenter never played for Stan, but his credits include Buddy Rich, Woody Herman, Bill Holman and Maynard Ferguson). Torres tenor is a very interesting blend of then and now, rather modern but with strong echoes of many other voices -- Webster through Coltrane and beyond. He is constantly in control, and blows through all ten tunes with confidence and aggressive swing. It is Pasqua, however, who really impresses. His dossier includes a wildly eclectic list of experiences from Tony William's New Lifetime, all the way to one of Bob Dylan's touring bands. He is an exciting player -- an excellent craftsman who is both a superb soloist and an outstanding accompanist. It is his playing that rises above the rest (and the other three can really play!). Each piano solo is in itself worth the price of admission. Six of the ten compositions presented here are from the pen of Torres, and, for the most part, are fine tunes -- mainstream straight ahead, and very enjoyable. Because of the nature of the project and the nostalgia generated, two favorites are from the Kenton book: Stan's "Artistry in Rhythm," and Ray Wetzel's "Intermission Riff." Erskine's career with Kenton goes back a long way. To the age of seven, as a matter of fact. In 1961, Peter and his family showed up in Bloomington, Indiana to participate in one of the earliest Stan Kenton Jazz Camps. Upon arrival, they learned that the minimum age was fourteen. Since they had traveled all the way from New Jersey, Stan agreed to audition the seven year old drummer and concluded that he could stay. (There is a rather well known picture of young Erskine playing with Kenton looking over his shoulder.) It is this long relationship that Peter Erskine celebrates here. No new musical soil is turned, but the sounds are fine, and the production (thanks to Erskine's new record label, Fuzzy Music) is outstanding. Stan would be proud. -- John Leisenring John Stein HUSTLE UP! Tightly Knit Jazz KFW 172 Personnel: John Stein, guitar; Bruce Torff, piano; Marshall Wood, bass; Les Harris, Sr., drums; Dave Lima, Hammond organ; Dave Hurst, drums Tracks: Poor Butterfly, Eleanor's Folly, Lingering, Hustle Up!, Sarenna, Hannita, Bye Bye Blackbird, Indian Summer, Elizabeth, Bootin' It Recorded at the Berklee College of Music (Studio B), Boston, MA There's nothing more satisfying than popping a new CD into the player and, from the very first run-through, you're glad you own it. Without question, John Stein's debut, Hustle Up!, is that kind of album. Reminiscent of the warm, intimate jazz rooms of the late '50s and early '60s, Hustle Up! takes you back to a time when clean, straight-ahead jazz was the main course. ...Picture yourself nestled securely in a corner table enjoying your favorite taste. Opaque shapes of ghostly smoke appear blue and purple through the jazz club's soft lighting capturing a glow that draws you closer and closer to those around you. With the reassuring sounds of jazz embracing your thoughts, the visual and aural experience becomes complete. You start the night off with a pleasing melody. "Poor Butterfly" serenades you with a lilt so enticing you think later on you might get lucky. "Eleanor's Folly" gets your blood moving with a pulsating blues in 3/4. "Lingering" time then arrives and you slow down to collect your senses... just when a haunting Hammond organ calls you back to a reflective mood. Next it's time to "Hustle Up!" as Stein's guitar punctuates the air and Dave Limina's Hammond and Dave Hurst's drums add even more supportive voices to this new groove. Suddenly, you look around the room and notice a lovely Latin "Sarenna." Passion and melody blend with the sensuous urgings of an understanding keyboard. Courage and determination resound into a "Hannita" and you're certain this conversation will last and last. Spirits soar and you're excited that tonight will not be the typical "Bye Bye Blackbird" that flies away, but rather a song of love empowered with energy and strength to return home. Oh, what an "Indian Summer" it could be! ...A walk in the woods colors thoughts of optimism and promise. Finally, the bartender awakens your reverie and tells you to start "Bootin' It" along because this song has no place for a idle chat. This CD consists of three standards and seven original compositions that take you on such a journey of mind and memory. Interpreted by two different bands, a quartet and an organ trio, Hustle Up! captures the mood of a bygone era. The weave and continuity of songs certainly evokes a live session of decades past. John Stein has done his homework. This is a solid effort by journeyman jazz musicians. The shared improvisational work by all players is on the mark. No one is out of place or obtrusive in the respective ensembles. Hustle Up! is a "Tightly Knit" CD that deserves your attention. -- J.P. Makus (Contact Tightly Knit Records at 212-219-3006 -- Ed.) RETURN TO APRIL/MAY 1996 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.