As a professor in the jazz department at Towson University and founder/teacher of the Jazz Band Masterclass program, Jeff Antoniuk has helped many aspiring musicians accomplish their goals.  Combine this with his work in the Maryland Summer Jazz workshops and it’s safe to say that he’s been very influential in the lives of many jazz players.  All of that knowledge, direction and inspiration shared as a teacher can be heard and felt in his latest CD releaseBrotherhood.

Jeff Antoniuk and the Jazz Update include Jeff Antoniuk on tenor/soprano sax, Tom Baldwin on bass, Wade Beach on keys and Tony Martucci on drums.  This unit is a regular working band that delivers energy and excitement from the word go.  It’s wonderful to listen to a group of musicians who are comfortable playing with each other but also very interested in stretching the boundaries that they collectively explore.  They also seem to really love playing together and that joy comes crashing through in the music.

The opening tune “Screwball” is dedicated to Jeff’s son Aidan.   The humor and energy of a six year-old is evident as Jeff weaves through the time changes effortlessly with loads of expression and humor.  The title track “Brotherhood” cranks down the intensity a notch at the band settles into a solid groove accented by a great solo by Tony Martucci.  “Meet Me at the Ponderosa” is a treat from beginning to end with Wade Beach taking a ear catching solo combining piano with electronics.  “Waltz with the Wind” was composed by Tom Baldwin and it’s melody has been jammed in my head since I first heard it at the Maryland Summer Jazz workshop last year.  Tom’s melancholy solo sets the mood leading into a great response by Jeff on soprano sax.  These are just a few of the songs you will hear on Brotherhood and none of them disappoint.

Anyone who studied with Jeff knows that he often stressed the importance of listening to good music in order to grow as a musician.  With Brotherhood I was given a lesson in playing with good tone, good time and feeling but I as a music lover I was entertained from start to finish.  I recommended this CD highly as well as seeing Jeff and his band perform in several locations around the MD/DC/VA area.

I have been horrible about documenting my exploration in music and sharing gems.  Since my last entry Jeremy Pelt has managed to release two new recordings.  The first was The Talented Mr. Pelt (which featured one of my favorite classic, recording covers) and his latest release – Soul.

AAt a time when many musicians sound alike, Jeremy’s sound, style and phrasing are truly his own.  His technical prowess on the horn is known from live performances and recordings but the level of emotion that he displays truly sets his playing apart.  He crafts solos that are thoughtful and exciting but most importantly – lyrical.  J.D. Allen (be sure to check out his release Matador & the Bullstrong) on tenor provides the perfect musical partner to Jeremy.  With the dynamic rythmn section of Danny Grissett (piano), Dwayne Burno (bass) and Gerald Cleaver (drums) – the Jeremy Pelt Quintet shows was a working band is truly capable of.  These talented musicians have played together for a number of years and it shows.

Always considered a very strong composer, Jeremy’s pen shines bright on this
release.  His knowledge and appreciation for the great american song book have given bloom to some exceptional music.  From the hauntingly beautiful “Second Love” to the stormy “Tempest,” Jeremy creates musical playgrounds for his group to explore and they bring us along for the ride.  Each player brings their own unique flavor and interpetation to the music and that quality is probably why Jeremy has continued to work with these talented men.

At a time when many artists explore inovation for the sake of inovation, Mr. Pelt’s journey is one that honors a rich history while showing what is still possible to keep this music exciting and fresh.  Each progression feels natural and unforced.  Soul is the culmination of that effort and it makes me hopeful and excited about what is coming up next.  Highly recommended.

I’ve been listening to a lot of music over the past few months but this one
has consistently found it’s way into my ears, CD player and iPod. From beginning to end this is trademark Horace Silver — funky jazz with tunes that will stick in your cranium long after you stop listening. Joining Horace on this endeavor is James Spaulding (alto saxophone, flute); Tyrone Washington (tenor saxophone); Woody Shaw (trumpet); Larry Ridley (bass); Roger Humphries (drums).

Woody Shaw is simply outstanding. His solos are well crafted and his technique is flawless. On “Grease Piece” he goes on a series of runs and acrobatics spurred on by Silver and the rhythm section. Shaw’s playing on this album really changed my concept of sound. I found myself REALLY listening to what he was doing from an improvisational and trumpet playing standpoint. For example – I love that touch of vibrato that he throws in on the end of some
phrases. Up till now – I’ve played everything straight with no vibrato (ala Miles). I may have to add that flavor to my playing in the future.

Most people mention Cape Verdean Blues as their favorite Shaw/Silver recording (and how could you NOT with Joe Henderson and J.J. Johnson joining them) but this is probably my favorite of the two. Still, I have played The Jody Grind WAY more than Verdean so perhaps I need to apply the same attention to the later.

More to come…

Growing up, my parents never played jazz albums. I didn’t really find out
about Miles Davis, John Coltrane and others until much later in life. One thing I did get a good dose of was Otis Redding. My father was (and still is) a huge Otis fan and I think I inherited his love. I also count it as a heavy influence in how I approach music – whether it is jazz on the trumpet or singing in the church choir.

The Dock of the Bay is easily one of my favorite albums. I have great memories associated to each song (I vividly remember singing the song “Tramp” with my sister all the time as kids) but even without the memories the music presented is simply fantastic. Otis Redding had a unique voice and the ability to pour so much emotion into a song. Whether he was begging his girlfriend to “Open the Door” or telling about the “Glory of Love” you could feel every bit of it. He plays with an incredible horn section including Otis Redding died at 26 in a plane crash. He was in the prime of his career and his writing on this album showed that he was on the verge of something tremendous. The lyrics of the song “Ole Man Trouble” hold a bone chilling irony considering that this album was released after his death…

Sometimes
Sometime I get – I get a little worried
ole man trouble Please Please
Stay away from me
Ole man trouble
Stay away from me
You’re nothing but trouble
Stay away, stay away Please

When I mentioned to a few folks that I really dug Horace Silver’s The Jody
Grind, they immediately told me to be sure to check out Cape Verdean Blues. The funny thing is I had already purchased this album before Jody Grind and while I thought it was good — it wasn’t a CD that received frequently play. Upon revisiting, that time is over. Cape Verdean Blues and Jody Grind have been played more than any others in my music collection over the past few months.

The front line horn section includes Woody Shaw on trumpet, Joe Henderson on tenor and a guest appearance by J.J. Johnson on trombone for three selections. What more could you ask for?  The music is classic funky Silver but stretched and filled with exploration. The tune selection gives the horns an opportunity to show their stuff. Their solos are reflective, aggressive, energetic and plugged directly into spirit of the player. It is a true example of what we all strive for when we attempt improvisation. Break out a pen and pad… take some notes on this one.

Woody is brilliant as usual. I can’t say enough about the influence he has had on me over the past few months. I am probably repeating my comments from my Jody Grind review but his technique, tone, ideas and phrasing are absolutely astonishing.

Highly recommended.

Well what do you know… another CD review where Woody Shaw is the trumpet player. Surprised? You shouldn’t be. Over the past few months listening to Woody has been an amazing education for me. We won’t even talk about encouragement and inspiration through his sound and reading various articles about him on the Internet. He has quickly risen to the top of my trumpet influence list. While I know that I cannot attempt to play his ideas due to my lack of technique, the experience of getting to know him musically has
really opened my ears in so many ways. One – I embraced the power and authority of the trumpet. Two – I embrace the ring and bright full sound that it can create in the hands of a master. Woody Shaw is truly one of the masters.

Woody Shaw Live Volume III is an amazing CD and a testimate to this great artist and composer. I have always loved the song “Little Red’s Fantasy” but the song “Organ Grinder” is now a true favorite of mine. I can’t count the number of times I have played this song. All of the solos on this cut are incredible (especially Stafford James on bass and Mulgrew Miller on piano).

Woody is trule the star of the show and his solos leave my head spinning as I wonder where this beautiful cat developed such an amazing command of the trumpet and the language by which he communicates. The good news? Late February promises a Woody Shaw Live
Volume IV CD release. I can’t wait.  In the mean time, pick up Volume III to keep your ears occupied and happy.

Jeremy Pelt has done it again. His recently release Identity is everything a jazz CD should be – expressive, personal and explorative. When I caught up with him at the Kennedy Center & Twins a few months ago he was very excited about this CD and rightly so. To me it contains some of his best work.

If you have been listening to the MP3s of live shows he has performed over the past year – the direction he takes here should come as no surprise. The personnel on this CD are Frank LoCrasto: piano, electric piano, organ, synthesizer, effects; Vicente Archer: bass; Eric McPherson: drums. With Mike Moreno: guitar; Warren Wolf: vibraphone and Myron Walden: soprano saxophone, bass clarinet. All of these cats have played with Jeremy prior to this recording and it shows. The group is clearly on the same page in concept/direction while still allowing their individual voices to be heard.

From the energetic (and to my ears rock inspired) “Suspicion” to the floating “Eye of the Beholder,” Jeremy covers a wide but related spectrum of material. I say related because the overall vibe of the CD remains relatively constant. All music was written by Jeremy and shows that he is developing some serious composer chops. My favorite tune on the album is “Eddie’s Story” a tribute to a fantastic trumpet player by the name of Eddie Henderson. As far as his playing is concerned – he is on his game technically. His trumpet tone varies from dark and mysterious to electric and energetic. His sound on flugel is to die for makes me very glad that I picked up another Conn V1. His ideas are spontaneous and seem unrehearsed.

If you like straight ahead jazz and appreciate tunes that deviate from the norm, you should enjoy this latest offering. Jeremy and the group stretch the boundaries of music without totally destroying them. Personally speaking – I like that.

When it was announced that previously unreleased material from a Monk/Coltrane concert had been discovered at the Library of Congress everyone who loved jazz had to lick their chops as I did.  Two of the giants in jazz performing their material live at Carnegie Hall of all places!?  What could be better?  My imagination at the time did not prepare me for what my ears heard when I listened to this CD for the first time.  It was truly beyond anything I expected.

From the first tune – “Monk’s Mood” you realize that something really special happened that night.  Monk’s opening statement is absolutely beautiful.  His touch seems soft but confident.  When Trane joins him…  good gracious…  somebody pinch me please.  What you
hear on this recording is two masters of music completely confident with the material and each other.  While I would be hard pressed to find favorite tunes on this recording (they are all excellent) I would have to say that “Bye-Ya,” “Blue Monk” and “Epistrophy” really
plugged in with me.  Coltrane navigates the changes with confidence and Monk continues to stretch the boundaries of tunes that he had probably performed countless times.  My goose bumps have goose bumps.

The sound quality is absolutely astounding.  Crystal clear and incredibly balanced.  Monk was playing on a grand piano that really allows his genius and unique playing abilities to shine.  Check out Shadow Wilson’s cymbal work on “Epistrophy” — good gracious.  To me this ranks with some of the greatest jazz albums recorded and a must have for every music library.  Easily the best release of music this year and the best I’ve heard since getting turned on to jazz.  Get it.  Now.

"Mirror, mirror on the wall… 
Who?s the fairest of them all? 
Your momma!" 

How can anyone not love this album? It's funky, energetic, cool, in the
pocket and drenched in the blues. Donald Byrd is joined by Sylvester Kyner (alto
sax), Walter Booker (bass), Cedar Walton (piano) and Billy Higgins (drums and
vocalist of the lines above). The group finds a groove easily and the final
product leads me to believe they had excellent chemistry during the recording
session.

Donald Byrd (with his always present clear and soaring tone) is at his best
here. He solos cleverly and totally relaxed. Check out his humor filled
performance on the title track and his clever use of space in "My
Ideal." One of the best RVG reissues Blue Note has released (and I've yet
to buy a bad one). I even love the cover!  Pick up a copy and enjoy!!

I heard about this ablum while visiting the AllAboutJazz website. Jeremy Pelt (a musician who I hold in very high regard) mentioned the name Avishai Cohen as a trumpet player that he really liked. That was all I needed to hear to begin my quest to get this recording (and it was a quest… CDs created on the Fresh Sound label are not usually found in your local Tower Records… at least not the one near me).

I must agree with Jeremy on this one. Avishai Cohen (not to be confused with the bassist of the same name) is the real deal and a talent deserving of wider recognition. This could indeed be the performance to get it for him. This album is in trio format with Avishai on trumpet, John Sullivan on bass and Jeff Ballard on drums. He is also joined on three tracks by Joel Frahm playing tenor sax. The playing is fresh and exciting with great performances by all.

You may have a hard time finding it but it is definitely worth the effort. I look forward to hearing more from him in the future.