Improvijazzation Nation, issue # 111

Here’s our second issue for 2011, # 111. There are over 100 CD’s in queue, which I expect to clear out soon… but then, each time I produce a new review, I get 2 or 3 more CD’s in… life’s grand, isn’t it? Ha! Ha!

When the links below are SHADED, they already have content – if not, you’ll need to come back to check it for content (of course, I’ll also be posting the updates on FB, if you prefer to use that method):

REVIEWS – Clocked in 30 reviews for this issue, & as I start off 2011 with many new products in the queue (if you haven’t seen it yet, you may want to look at my ZZAJ REVIEW QUEUE page, which will show you what’s coming up… this can really be handy for promoters and artists who have sent me review material too), you’ll find brand-new and exciting music to learn about!

INTERVIEW – for this issue is with a fantastic pianist,  Leslie Pintchik; she’s been reviewed many times in our magazine, and plays some of the finest jazz piano you’ve ever heard!

POETRY PAGE: I received several poems while I was putting together issue 110 – but I don’t have any in queue right now – so please SPREAD THE WORD to writers & spoken-word performers you know… this won’t fly unless you help us get poets to submit their works for consideration to me by sending them to rotcod@rotcodzzaj.com – I will NOT publish every poem, only the ones that I like and that are music-related in some fashion – but, please DO submit and tell all your friends who are into “words” to submit, too!

ZZAJRANT – as the New Year begins, I have truckloads of thoughts and images flashing through my head, & they’re not all sugarplums & roses. I generally don’t write the rant up until I’m finished with all the reviews and ready to move on to a new issue. If YOU have a rant you’d like to have published, send me an email with your rant in it… if it’s something I like, I may publish it… all material should be emailed to rotcod@rotcodzzaj.com

HAPPENINGS – use this page (always on) to check the latest and greatest happenings… in fact, if YOU have music or poetry events you’d like announced, just REGISTER for our site… just hit the REGISTER button – at the TOP RIGHT side of the page; as a registered user – you can POST gig announcements, commentaries – the list goes on & on – so please consider REGISTERING with us – ok? It’s FREE – no charges or hidden fees! If your post is significant enough to me, I may add it into the HAPPENINGS page!

 

Issue # 111 reviews

Our latest reviews for your reading and listening pleasure!

Robert Glasper – DOUBLE BOOKED: Robert is one of the coolest jazz pianists on the globe today… the album cover & the intro to the CD remind me (in some strange way) of albums from Eddie Harris back in the day, but the “meat” of the CD is fantastic keyboards like you’ll hear on the opener, “No Worries” – a superb track!  An even dozen great pieces of music, but it was the 10:04 “Festival” that made the album work for me;  clear shades and flavors of Monk are totally present in his playing, but I heard little touch of George Duke-like wonderment on this excellent and engaging track.  “For You“, though too short at only 2:12, is soulful and wonderful!  I give this one a MOST HIGHLY RECOMMENDED, especially for listeners who love hearing a keyboardist who can play all manner of keys – acoustic as well as electric.  “EQ” (energy quotient) is 4.98.  Get more information at http://www.robertglasper.com/ Rotcod Zzaj

Rich Halley Trio – MOUNTAINS AND PLAINS: Problematic” is what my review of this fantastic CD featuring Rich’s full-throat sax work is, in that it sat in the queue for awhile… really unfortunate, as this is one of the best CD’s I’ve heard from him.  This gent is a monster player, steeped in the kind of jazz all of us with it in our blood want to listen to each & every moment of every day!  “Distant Peaks” is a 7:54 gem that takes you through all the moods one can have… excellent drum intro (with a whistler to boot) and one of the most emotional sax solos I’ve ever heard.  Clyde Reed does bass & Dave Storrs (of Louie Records) plays percussion & does vocals.  A splendid jazz experience that fully rates my MOST HIGHLY RECOMMENDED, as well as an “EQ” (energy quotient) level of 4.98.  Get more information at http://www.richhalley.com/ Rotcod Zzaj

Ray Sharp – RAY SHARP: I sorta’ “grew up” next to where Ray’s comin’ from (I lived over in Breathitt County for about 4 years).  He’s definitely into th’ kind of “countrified soul” I heard while I was down there way back in the late ’60′s & early ’70′s, & he’s got it DOWN, ‘specially on tunes like “Diggin’ On James Brown“… he’s definitely funkified this one!  He’s got 37 tracks out there (there were 34 when I pulled the tracks), & all of them are free download – so go GIT yers’ while you still can.  Ray’s rendition of “Born Under A Bad Sign” tells you that he KNOWS these blooz whereof he sings!  I’m quite impressed… Sharp is SHARP, people, & doesn’t come across as “starstruck” at all.. just a natural talent with high energy for your ears!  I give him my MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) of 4.97.  Get more information at http://www.reverbnation.com/raysharp Rotcod Zzaj

Phil Woods – THE CHILDREN’S SUITE: My last review of Phil’s wonderful reed work was in issue # 73 & it’s truly nice to have him back again – especially since the jazz here will (as the title implies) attract children to the beauty he’s laying down for you here!  “Come Out With Me“, though at a nice & easy pace, sounds just like a jazz fairy crooning in your ear.”Pinkle Purr” just DANCES with the kind of life th’ kiddies will love!  Strangely enough, I found “Knight-In Armour” my favorite track of the 14 on this great album, in great part because of the high-energy guitar intro, I reckon.  If you’re looking for something to educate th’ kids on just how much fun music can be, this comes HIGHLY RECOMMENDED from me… “EQ” (energy quotient) rating is 4.95.  Get more information at Phil’s site!     Rotcod Zzaj

Toots Thielemans – EUROPEAN QUARTET LIVEA totally engaging session from Toots & his pals… Karel Boehlee on piano/synth; Hein Van De Geyn on double bass & Hans Van Ooosterhout on drums.  If you haven’t heard the magick this gent makes with a harmonica, you owe it to yourself, your ears & your soul to taste what he’s been doing for many, many years… as on “Summertime“… one of the most soulful renditions of this classic you will ever hear!  An even dozen hits of high-energy jazz that will stick in your mind for years… check out one of my favorites, “Round Midnight“… no rushing here, it’s all at a relaxed pace, yet as energy-infused as your hottest rock band!  The “capstone” track for me, though, was Toots’ own composition, “Bluesette“!  Whether you realize it or not, you’ve probably heard Mr. Thielemans somewhere before; this is one of his greatest recordings!  I give him & the group my MOST HIGHLY RECOMMENDED, along with an “EQ” (energy quotient) rating of 5.00 (the highest an artist can get here).  Get more information at www.challengerecords.com Rotcod Zzaj

Yoshie Fruchter – PITOM: There isn’t anything you can “call” this… totally unique music with influences from the furthest corners of the universe (& a couple out beyond ours, too).  I can imagine a group of cowboy aliens sittin’ ’round a campfire fiddlin’ up some shenanigans like the opener, “Skin and Bones either “ghostly” or “ghastly”, depending totally on your mood at the time you listen.  At some moments, I’m reminded of Zappa orchestrals, then at others, as on “Freigel Rock“, I can’t help but think of the magickal (& alchemical) guitar antics of my pal Davey Williams.  Turns out to be “The Dregs” that gets my vote as favorite track.  This is a high-energy group that will surprise (& sometimes amaze) your ears… for the seriously jaded listener who wants a bit o’ “panic mode” in the listen, I give them a MOST HIGHLY RECOMMENDED, and an “EQ” “energy quotient” rating of 4.96.  “Serious” jazzers (in other words, those who don’t like music that’s FUN) may not make it through the first 3 cuts, but it will be your loss.  Get more information at http://yoshiefruchter.com/ Rotcod Zzaj

The David Liebman Trio – LIEB PLAYS THE BLUES A LA TRANE: I have reviewed and listened to a lot of David’s work over the years & can say unequivocally that this is among my favorite.  Some of that is probably because I just dig down deep on blues music, but the other reason is that this is some of the liveliest & high-energy reed work I’ve heard from him – like, EVER, man!  The opener, “All Blues” is absolutely RADIANT… David’s sax leads, of course, but Marius Beets bass & Eric Ineke’s drums are right ON, volkz… he literally takes you to the edges of the universe on this one, & if you don’t grok “the blues” after you listen to this, you’re soul is charred already!  This was recorded live in Belgium, & it’s one of the best live recordings I’ve heard in many years!  It’s the 11:07 “Mr. P.C.” that got my vote as favorite… this one definitely “takes you through the changes”!  I give this my MOST HIGHLY RECOMMENDED rating, as well as an “EQ” (energy quotient) rating of 4.99.  It also gets my “PICK” for “best live jazz recording of 2011″.  Get more information at www.challengerecords.com Rotcod Zzaj
 

Call & Response & Friends – & FRIENDS: Our pals at pFmentum have been sending us music that challenges both the mind & spirit for many years now… as I remember, few of them featured the kind of excellent spoken-word that this album does.  There are 34 pieces here, most of them under 2:00 long… only a couple of samples available, as in “Two Henny Youngman Poems“… those with a bit of poet in you will BLOW your MIND… VERY humorous!  The other was “The Two Times I Loved You The Most In A Car“… definitely a “new view” on “love”.  An extra benefit is that you can read all the poems as you listen to the tunes on the pFMENTUM page. It would have been nice to have a couple more tracks up for sample, but it makes it much more interesting to read the poems as you play the CD.  Since my start in performance was with spoken word, this one may hold my attention a bit more than for some of you who are more “musically inclined”, but I can guarantee you a most enjoyable listen.  In fact, this one gets (not only) my MOST HIGHLY RECOMMENDED, and an “EQ” (energy quotient) rating of 4.98, but it’s also my “PICK” of 2011 for “best spoken word CD”.  Get more information at http://www.pfmentum.com/PFMCD060.html Rotcod Zzaj

Dan Block – DAN BLOCK PLAYS THE MUSIC OF DUKE ELLINGTON (FROM HIS WORLD TO MINE): I hadn’t listened to Dan’s splendid reed work before, but I’m sure one reason we received this in for review is because it features a gent we have reviewed a lot, vibraphonist Mark Sherman.  As I sit here groovin’ on “New York City Blues“, it’s easy to hear the wild imagination this cat has as an arranger/composer & band lead… mighty mellow music… I’ve no doubt th’ Duke is smilin’ down as he hears this!  14 excellent tracks that feature some of the most beautiful sax I’ve heard in years (reminds me in some ways of my first listens to Stan Getz) on the ultra high-energy “Suburbanite I’m highly impressed, not to mention enchanted.  My favorite track was the 4:51 “Creole Blues“… magick through & through.  I give this one a MOST HIGHLY RECOMMENDED, as well as an “EQ” (energy quotient) rating of 4.96.  Get more information at www.mileshighrecords.com Rotcod Zzaj

Marcus Shelby Orchestra – SOUL OF THE MOVEMENT: There’s a good solid reason why this CD makes me feel “at home”… I was raised in a church – literally; being a PK (that’s “Preacher’s Kid”, for those who aren’t familiar with the term). Of course, in my dad’s churches, though the “spirit” was there, it wasn’t nearly as dynamic as what Marcus delivers here! As I listen to his power-packed version of “Amen” (especially when vocalists Faye Carol, Kenny Washington & Jeannine Anderson), I’m more reminded of some of the hip-swaying & rockin’ I experienced right after leaving home down at black churches in Virginia & Alabama…. this tune will TRANSPORT you to whatever your version of heaven might be! I last reviewed his stunning works in issue # 82, & this album takes you even deeper into the roots of where the jazz all came from! The scat work at about 3:00 on “Black Cab” is the best I’ve heard in 20 years, & the 15-piece orchestra backing up the vocalists certainly doesn’t hurt either. My favorite of all 12 tunes, though, was the 11:37 “Birmingham (Project C)“… it projects PURE POWER! This one gets (not only) my MOST HIGHLY RECOMMENDED, and an “EQ” (energy quotient) rating of 4.99, but it gets the “PICK” of this issue for “best jazz concept CD”! Get more information at www.marcusshelby.com Rotcod Zzaj

Bob Gluck, Joe Giardullo, Christopher Dean Sullivan – SOMETHING QUIET: Though the CD title does reflect a “mood”, of sorts, the astounding music you will hear coming from Bob’s piano (as well as Joe’s soprano sax & Christopher’s bass) on “Waterway” is surely better than most jazz I’ve heard (yet) in 2011; it’s an epic journey that your ears will stay glued to through the entire 11:45! Bob’s original “October Song” features each of the instruments and displays the clear talent and high energy you would expect from total pros, which is what these guys are in spades! The mood isn’t raucous on any of the songs, keeping to the quiet/focused theme, but the trio projects power on all the tracks, especially my favorite (the closer) “Lifeline”; one of the best & all the moods you might imagine are covered in this one! I give Bob & crew a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.98. This is definitely one of my favorite CD’s for 2011! Get more information at http://www.electricsongs.com/somethingquiet.html Rotcod Zzaj

Griffith-Stevens Quartet – ONLY LOVE: Michael (Jefry Stevens) is in fine form, piano-wise, with vocals by Miles Griffith, Dominique Girod on bass and Dieter Ulrich on drums on this 2008 recording (just released in January 2011). These folks have been playing together on various projects over the last 15 years or so, & this CD certainly displays the wealth of energy and talent in wonderful ways. Just listen to Michael’s down-low & sweet original “When I First Met You” – in the jazz/blues arena, it doesn’t get any better than this! My personal favorite on the album, though, was (another original from Stevens/Sannwald) “Highway Blues“… if you’ve never had the blues before, you’ll understand “instantly” what they’re all about, both from the vocal and from Michael’s strident keyboard – it’s almost like they’re both talking those blues right in your ear! I give this one my MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.96. Get more information at the ARC (Artists Recording Collective) site. Rotcod Zzaj

Whiteboy Slim – I’m Still Here: Think of a kind of odd cross between Dr. John, Frank Zappa & Howlin’ Wolf, & you’ll have a pretty good idea of what Slim does for your entertainment… I’ve been reviewing him for a long time now, & we hooked up again on REVERBNATION a couple months back… I’ve always loved gut-funk blues, & “Whiteboy Slim’s Walkin’ Blues” will put you right DOW-un into that blues zone that all of us love… his guitars on this one just KICK some tail! Simple roolz on a blues set, & when you listen to Slim’s rendition of “I Got The Blues“, you’ll GET th’ message (and a good strong dose o’ th’ blooz, too)! It was Slim’s version of “Route 66” that turned my krank (& got my vote for favorite right away). For blues-lovers everywhere, this gets my MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.97. Get more information at his REVERBNATION page! Rotcod Zzaj

Jordan Reyne – BIRDS OF PREY: You can get a list of players for this 2004 release (originally from 1997) from Jordan on her site… she also has a FREE DOWNLOAD of the entire CD available there. I wasn’t able to find any individual/linkable downloads for the tracks, so you’ll want to ensure you visit the site linked in above to hear what she’s doing. It’s an odd mix that combines Celtic singing with heavy shades of industrial and experimental, particularly on compositions like “megalomania”… if you’re yearning for something a bit gentler, you’ll fall in love with “Perfidity” right away… Jordan’s haunting vocal will carry you to another zone entirely! My favorite track (from an energy perspective) was “Millstones”… heavy and totally engaging! I give this CD a MOST HIGHLY RECOMMENDED, especially for listeners who want something with a slightly jaded aural view. “EQ” (energy quotient) rating is 4.96. Get more information at www.jordanreyne.com/birdsofprey.html Rotcod Zzaj

Eastern Boundary Quartet – ICICLES: I’ve been reviewing music from pianist Michael Jefry Stevens & bassist Joe Fonda for quite some many years now, most recently in issue # 106. This recording, released in January 2011, adds drummer Balazs Bagyi and reedist Mihaly Borbely (from Hungary). There were actually a couple of other CD’s from their ’09 tour & recording sessions during shows. “Icicles” is a wonderful example of just what happens when creativity is loosed on an audience, particularly on tracks like the opener, “Fish Soup“… a great excursion into many moods that will take you up, down & in-between! The 9:09 “Borders” is ultra high-energy & will have you up & ready to dance ’round your room (or the great outdoors, around a vodka-inspired fire… ha! ha!). My favorite, though, was “Hungarian Jazz Rhapsody”… slow build, with total engagement on the part of each artist. For those enthralled with jazz, it doesn’t get any better than this. I give this a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.97. Get more information at www.michaeljefrystevens.com Rotcod Zzaj

Mike Milillo – MIKE MILILLO: Mike is another of those characters who is an “enigma”, so to speak… I’ve been listening to & reviewing his music ever since the original MIXPOSURE, & recently had direct contact with him on the nets for the 20 or so songs I’m reviewing here, but the only track I could find (direct) was “Passage“, a song he did with fellow MIXER Ed Drury. & that’s really a shame (I think) because these 20 pieces deserve to be heard… especially compositions like “Rug People” (my favorite track from this grouping), a sort of “cross” between Frank Zappa, Stanley Turrentine & Big Brother whispering in your ear… ha! ha! What attracted me most strongly to Mike’s playing in the first place was his sense of humor about music… he doesn’t let “tradition” bog down what he plays! On these 20 pieces, he’s doing saxophone in some of the best playing I’ve ever heard him do (& believe me, I’ve heard a lot of what he plays). You can visit his REVERBNATION site, though I’m not sure he’ll have much there – enigma is the keyword. Doesn’t matter – I give him my MOST HIGHLY RECOMMENDED rating, as well as an “EQ” (energy quotient) rating of 4.99. Rotcod Zzaj

Matt Panayides – TAPESTRIES OF SONG: Here’s a fantastic PACIFIC COAST JAZZ release from Matt’s superb guitar work, as well as tenor sax from Rich Perry, bass by Steve LaSpina and with Dan Weiss on drums. Well woven musical tales that will hold you spellbound through the entire 8 original pieces with all the verve of the “good old days” in jazz, albeit with a decidedly 21st Century flavor that will make your ears fall in love with his talent right away. There aren’t any cliches in Matt’s compositions, but there’s lots of raw energy and love of playing evident! I was particularly entranced by tunes like the down & funky “Why Bail Them Out?“… 6:48 minutes of pure aural pleasure. He paints aural imagery with his guitar especially poignantly on pieces like the sweet&low “Different Place“, & keeps your motor runnin’ in fine form on cuts like the 7:59 “Freedom’s Illusion” – my favorite on the CD, by the way! I’m highly impressed with his talent and skill & give him my MOST HIGHLY RECOMMENDED for jazz listeners of all stripes. “EQ” (energy quotient) rating is 4.97. Get more information at www.mattpanayides.com Rotcod Zzaj

Heavy Tin – reFUSED: I first reviewed these gents in issue # 107 & was quite favorably impressed with their “bop jazz” style. On this CD there is a much stronger “jazz feel” to their compositions, particularly on pieces like the totally laid-back “Sweet Beet“, though there’s plenty of strong percussion and beat goin’ on with tracks like “The Swing Prophet“, one of my favorites. Piano (like no other from B.R. Pearson, bass by Izzie Reel & drums from Viktor Lorak all blend together in a quite satisfying energy mix that will keep your mind moving right along in that good old “jazz vein”. I’m impressed again, and expect you’ll be hearing much more from these cats. No matter what you think, though, do this one with your headphones ON… I can guarantee you that you will dig cuts like my favorite, “The Nooki #“… very nicely crafted & played. I give them a MOST HIGHLY RECOMMENDED, as well as an “EQ” (energy quotient) rating of 4.96. Get more information at www.concinnityrecordings.org Rotcod Zzaj

Mac Gollehon – STRAIGHT AHEAD: Woo-hoo, this takes me back… Mac’s brass (trumpet & trombone) together with baritone saxophonist Ronnie Cuber on the opener, “Fish Market“, makes me think I’m back in those bump & grind strip clubs I was weaned on after leaving home… heh! heh! This is that lively gut-funk kinda’ jazz that got me hooked on it so many years ago, & that’s especially true on tracks like the title cut (an original by Mac), “Mac Straight Ahead“… I’d say that has something to do with organist Greg Kogan’s strident keyboard work, but Mac’s brass is right in-front & brassy, as it should be. The mix seemed to have a bit of “echo” on it, though after fiddling ’round with my own machine’s sound FX, I was able to listen to it in “raw” form… I’d look at that on the next recording, though…. this was only a minor critique, though. My favorite track featured Mac’s trombone, “Strange Behavior“; each player got to shine on this one! The high-talent & full-tilt energy of the players made this experience a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.97. Get more information at www.mac-nyc.com Rotcod Zzaj

Adia Ledbetter – TAKE 2 RENDEZVOUS WITH YESTERDAYS: We didn’t get Adia’s first effort for review, but this February 2011 release is her second release, & it’s way cool. She’s one of the hottest female singers in the spotlight today, and you’ll hear why that’s a well-deserved accolade when you listen to “Can’t Help Lovin’ ‘Dat Man o’ Mine” – total SOUL, right? This isn’t “jumpin’ jazz” designed to astound you with hooks & gimmicks… the focus is purely on the talent Ms. Ledbetter is able to demonstrate, and a clear love of vocal work. It was “These Foolish Things” that immediately captured my heart & won my pick for favorite track, though! Any way you hear it, you’ll know you’re in the presence of real talent… I give this one a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) of 4.96. Get more information at www.jazzijua.com Rotcod Zzaj

MJ Territo – DOWN WITH LOVE: MJ does a whole host of jazz styles with her vocals on this debut CD, but her unique concept twist on this one is that they’re all themed around the idea that the songs are all about “unlove”. She selected a splendid crew of players to back her up, including Alan Rosenthal on piano, David Shaich on bass, Jon Doty on drums and guests Dennis Winge on guitar and Libby Richman on alto sax. I particularly enjoyed the lilting “Throw It Away“… it’s clearly evident that MJ is enjoying the singing & the band is right on time from the opening note. My favorite track was the down & funky “Gotta Serve Somebody“… a real slip/slidin’ track that demonstrates something about her ability to have FUN with the music (and for this reviewer, that is the KEY ingredient to success). I give this one a HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.95. Get more information at www.mjterrito.com Rotcod Zzaj

Brian Ralston – TORTOLOGY: I first hooked up with Brian (he calls himself Self Tort) on the “original MIXPOSURE” (lost & gone forever, unfortunately), & was highly impressed with the energies he projected on the songs we were reviewing there by him. He made contact late last year & gave me a digital download of this self-release… you’ll hear the power he projects on the opener, “Self Sufficientthe jazzheads out there will be up in arms, saying what in heck are you doin’, Zzaj? While this definitely isn’t jazz, it more than meets my primary criteria for whether I will review a CD or not… HIGH ENERGY! The great striding bass line on “One Hour With You” has some strong hints of alleycat jazz, even. My favorite cut of the 13 tracks I listened through, though, was the guitar-laden “Dark Eyes“… absolutely haunting & powerful. I give this a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.96. Get more information at http://www.selftort.com/fr_press.cfm Rotcod Zzaj

Shawn Bell Quintet – THINGS YET UNKNOWN: There’s absolutely nothing “cliche” about Shawn’s ice-cool ‘bone playing… any images you may have had about the trombone being (only) an old ’50′s jazz mode will be totally dispelled as soon as you hear the first few bars of the opener (& title track) “Things Yet Unknown“! I’ve little doubt that much of the energy being projected here is strongly related to the youth of the players (Shawn on trombone, Quentin Coaxum on trumpet, Jonathan McQuade on flugelhorn, Ross Margitaz’s bass from Nathan Brown & drum set by Samuel Jewell), but the fact that all 7 tracks are originals is a strong factor as well. I particularly liked the edgy drive of “Lost Pursuit“, but the slow build and high dynamics of the 8:27 “When I Cry” made it my pick for favorite tune. Any way you hear it, this is a young player to keep your ears on… I predict there will be a LOT more jazz flowing from him in the coming years… he gets a MOST HIGHLY RECOMMENDED, as well as my “PICK” of this issue for “best debut jazz CD”. “EQ” (energy quotient) rating is 4.98. Get more information at www.reverbnation.com/shawnbell Rotcod Zzaj

Jason Robinson – THE TWO FACES OF JANUS: On this high-powered CD (one of three mailed in for review – at the same time), Jason’s totally solid tenor & soprano sax & flute work is joined by Marty Ehrlich’s alto sax & bass clarinet, Rudresh Mahanthappa’s alto sax, guitar from Liberty Ellman, bass by Drew Gress & drums from George Schuller; Jason was last reviewed in issue 65, though he’s graced our pages many times before). The opening track, “Return to Pacasmayo” makes the CD worth purchasing on it’s own! There are 9 more tracks to groove (thoroughly) to, though, not the least of which is the stunningly beautiful “Tides of Consciousness Fading” – total talent on display here, & jazz lovers with adventure in their blood will keep spinning this for the duration! My personal favorite, though, was the closer “The Twelfth Labor“… total groove, & jadedly heavy reed lines that you’ll simply fall in love with. I give this my MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.98. Get more information at the LABEL SITE. Rotcod Zzaj

Tomas Michaud – BEAUTY & FIRE: If your musical mood right now is for something pretty and soothing, Tomas’ wonderfully global range of musical adventure will surely “punch your button”. Though this is our first listen to his talent, he has several other CD’s to his credit. One of the things that makes Tomas’s music so full of life and energy (in my opinion, anyway) is that all dozen tracks are originals. Just listen to the beautiful “Embrace In The Mist” to get a sense of the adventure you’re about to embark on. Tomas’ guitar style is crystal clear and flawless in execution… check out “Tribute” to hear why I’m so impressed… lively & on-time music to bring you up out of whatever funk you find yourself in. My absolute favorite piece, though, is the gentle “Lotus In The Moonlight“… intricate shades of wonderful! I give Tomas a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.97. Get more information at Tomas’ MYSPACE page! Rotcod Zzaj

Kitty Brazelton – ECCLESIASTES, A MODERN ORATORIO: Though I’m not a big opera fan, anything that Kitty puts out is well worth experiencing… & that is EXACTLY what this 1 hour and 13 minute CD is all about.. an experience! I’ve reviewed a lot of work by Kitty, most recently in issue # 55; this album is far deeper than some of her others. Kitty tackles “time”, via a story from the bible. She calls the group that performed these marvels “The Time Remaining Band”, and they will carry you to the very edge of the continuum… just be careful, they might not bring you back! Listen to one of my favorites, the 17:22 “The Beginning and Ending of All Things”… if this track doesn’t inspire you to think about your meeting with the maker, you’re already part of the “undead”. It was the 5:03 “Heaven” that was my favorite of the dozen tracks, though… there are sonic adventures (& nuances) galore on this one. While Kitty’s music isn’t for every listener, those with a taste of adventure in their blood will agree when I declare this MOST HIGHLY RECOMMENDED… “EQ” (energy quotient) rating is 4.96. Get more information at iNNOVA. Rotcod Zzaj

William C. Harrington – G3: William just COOKS his sax/reeds on this grand CD (which you get free HERE). An improvised collection from various sets, it has many gems for those listeners not afraid to explore the nether regions… I particularly enjoyed tracks like “Fuzzbergenoids“… Williams’ energetic interaction with the hyper drums will send you runnin’ to yer’ doc for 10 refills of your 1000MB Valium scrip… OR, it will calm your nerves & put you at peace (the latter in my case.. ha! ha!). The track that turned the tide, though, & made me select it as favorite, was the electronically expansive “Events“… 5:03 droningly pleasureful moments, reminiscent (in some places) of what I imagine the outer rings of Saturn may sound like. For those listeners most enchanted with creatively inspired music, I give this my MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.97… in fact, William gets the “PICK” of this issue for “most intriguing improv”. Get more information at http://wmharrington.bandcamp.com/ Rotcod Zzaj

Jenny Davis – INSIDE YOU: Here’s a totally fresh rendition of standards by Jenny… her vocals flow naturally and with full vigor, no doubt. Just scope out her doing “On Green Dolphin Street“… you’ll feel like she’s right there in your living room. 10 tracks that will make jazz vocal lovers everywhere listen over & over again… the title track “Inside You” is a perfect example of what I’m talking about. My favorite listen, though, was the short/sweet “No More Blues“… Jenny wraps her spirit right ’round every word & pulls you into the vocal vortex she creates for your ears. It takes real vocal talent to sing with only guitar & bass backing you… if you slip, it will be evident right away – but there’s none of that here! I expect to be hearing lots more from this young lady… she gets a HIGHLY RECOMMENDED from me, with an “EQ” (energy quotient) rating of 4.95. Get more information at http://jennydavisjazz.com Rotcod Zzaj

Lutalo Olutosin – TRIBUTE TO GREATNESS: This cat can HANDLE jazz vocals… I mean, he wraps his voice right around “Afro Blue“… this is far more than “just another vocal performance”… what distinguishes Lutalo from the others is that he projects POWER in every note, every phrase, every word! His performance on the closing track, “All Blues“… I keep wanting to think Lou Rawls, but after about 2 bars in, I realize that this is Lutalo’s soul punchin’ right on through my jaded aural appendages & grabbin’ me by the heartstrings! It’s Lutalo’s rendition of “On The Red Clay” that gets my 100% vote for favorite track, though… I’m highly impressed, & can almost guarantee you that you’ll be hearing far more from this high-talent, high-energy singer! I give him my MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.99. Get more information at http://www.sweetlumusic.com/fr_home.cfm Rotcod Zzaj

Jacqui Sutton – BILLIE & DOLLY: Jacqui’s vocals are among the best I’ve listened to (yet) in 2011. She opens the CD with a wonderfully laid-back rendition of “God Bless The Child“… “pleasant” is the keyword, to be sure. The banjo integrations on “Black Hole” will suck your ears right into the groovy vortex she creates with her vocals… recording is excellent quality through & through! You’ll definitely think you’re down in Cajun-town as you listen to the swamp groovin’ on “Those Memories of You“. There’s a heavy swing feel, & definite sweet jazz snatches competing for your aural attention, but it can’t be “classified” in any way shape or form. It’s for that reason (as well as some fantastic arrangements from Henry Darragh) that I give Jacqui’s debut CD my MOST HIGHLY RECOMMENDED rating. “EQ” (energy quotient) rating is 4.96, & when you add in the “FQ” (that’s “fun quotient), this one can’t be beat! Get more information at http://jacquisutton.com/ Rotcod Zzaj

Issue # 111, Poetry

 

Here’s our first submit for issue # 111; thanks Paul:

—————————————————————————

Blood Red Sky
by paul fogarty

I’ve been swimmin’ in the ocean

Underneath the burned out stars

Swimmin’ in the ocean

Salt water don’t heal the scars

I took out a piece of my heart

Held it up to a blood red sky

Blue whale smoking cigarettes

Says “big boys ain’t supposed to cry”

I met a girl who gave her heart

To a memory of love gone wrong

She cried to me, but I could not see

Any place I could belong

She kissed me on the cheek one day

Blew her breath across my face

I held her still, I could not fill

Her sorrow with a brief embrace

She locked herself in a gilded cage

Like a bird that broke its own wings

She dreamed her dreams through frosted glass

Nobody heard the songs she sings

She stood beneath a rainbow

All the colours flowed into her feet

When I reach out to touch eternity

She is the only one in my street

She smiled a smile that broke my soul

In scattered pieces on the soft white sand

She touched my heart with a tenderness

But she couldn’t hold my trembling hand

I told her I would love her til

The seas had all run dry

She swims upon the ocean now

Crying tears to a blood red sky

cheers and thanks
Paul Fogarty

—————————————————————————–

JUST TOO COLD (ANTARCTICA)
by Steve Koenig

The penguins drip drily,
“Enough of this plankton!
Enough of this Shackle-down.
I can’t stand my own self.
Rufus Thomas stole our funky dance
and JB doesn’t really dig our funk
His tour did a double-bump over Antarctica.
The only nod given was some accusatory Men Without Hats:
“Antarctica- What have you done!”
though we all danced to it in our Black and White Parties,
and we do skate to Vaughan William’s symphony, The Antarctic.
We eat the bugs beneath our feathers,
and have no change of clothes-
molting is too rare a fest- but we tell you,
quacking like Batman’s frosty nemesis
who in turn mocks us-
You’re just too cold.
Just too cold

Steve Koenig

—————————————————————————-

NOCTURNE

by Steven H. Koenig
after an electroacoustic composition by Pablo Silva

these nightly bells

distortion of the day

rings surround the textures of darkness

in silence

becoming thoughts

swirl

it slams into the walls of my head

hands spinning

smooth gathering

nights bring wings

these bells singing in the monastery

these bells singing

finally sleep.

Steve Koenig

—————————————————————————–

Smokey Singing
(Bedtime Thoughts)
by Steven H. Koenig

Now 25 is too old to lay
alone in a room with Smokey
singing and homework on
the bed and my thought in
your crotch where the doctor
says beware, and Smokey sings
how can farewell be fair

when ABC means more than
Mickey’s Monkey and either
way all I’ve ever sung since
‘68 is I want you back
Teacher’s gonna show you
how to get an A

Oo baby you’re older than me
and entranced and my own
globe is wild enough to carry
it through thick and thin
in and out and oo baby
it’s time cause 25 is too old
to lay in bed with Smokey

singin.

Steve Koenig

—————————————————————————–

Gargles

gnat glancer bubbled in my throat a

crispy shadow in the file cabinet where

my tongue was greased .a lunch

thumbprint ,plates of moonlight sm

eared across the wall I cracked in

to out O aim my fog at you at

me’s a dropper in the flat pants

I never wore out’s ide ,the comb gut

blister ,piles and miles my sandy

thumper caved into the rotting

log )I spoke the spoke the water(

John M Bennett

—————————————————————————–

(ED: if you click on this one, you can listen to Jeremy while you read the text)

cur•tate (kûrtāt)
adjective
Having been shortened; abbreviated.

><><><unterzone

Now that you are asleep and half attentive
I want to use your mind
In my experiment
I am getting slippery, very slippery
Now that I am half asleep
Let me take you
to unterzone
You are falling from the top of a long flight of stairs

My mother is standing at the top of a long flight of stairs
Fully asleep
Dead

Now that you are fully asleep
Let me take you
to unterzone

Now that I
am in my childhood bedroom
Alone
take you let me to unterzone

The source of intention

Welcome to unterzone – under – zone.

Don’t lose me to unterzone, the self-refrigeration.

This is unterzone.
Not the underworld – too glamorous.
unterzone, superficial, stamped with futility, the glue love cannot stick.
Two glues there are: love, and everything else.
Everything else upscaled isn’t much use because it’s too big to matter.
It seems to be important.

Am I important? Ask. Is he important? He says, is important. unterzone is an underpass: long, low grey walls and dirt. I am unterzone, my own unterzone. What was once important is no longer. I am no longer important. Unwelcome, a footnote to myself.

Selling me myself? In Saneworld you are sick, severe and enduring. Lying to me in Saneworld, when I visit it, which I limit, it makes me sick. Of Saneworld.

I have given up my bed in Bedlam, ate my way through the chain and beat my way through the dogs into unterzone. I don’t believe in you; don’t believe in me.

Taking my confession..?
Half my life inauthentic to myself.
There’s worse ways to be beaten than with a belt.
As my father would have put it, “childish nonsense”.
I can make myself full of pain, cracking it at others like a whip.

Filed away or filed down, the core would remain toxic gold.
Love falling from the top of a long flight of stairs.
Are you falling from the top of a long flight of stairs?

I am repeating my steps at the top of a long flight of stairs.

Can you see me from the top of a long flight of stairs, across these space flights of stairs? Snowflake humans bumping down like meatware Slinky’s. Or spilling like milk, sticking to all it covers.

I receive, accept and am grateful for the gifts of the dead, their living guitars, unstilled voices, imposing spirits and nulled minds. Anybody can see that here I am. A parasite upon genius.

All my anger is righteous
In desert, water
Living on nothing
I found all before

The nerves of the machine
Need to be cleaned
The last in the series
Animal spirits
In the bloodstream
Below the floor
Where the rats live
That’s where I belong

Jeremy Gluck

———————————————————————————-8 is I want you back
Teacher’s gonna show you
how to get an A

Oo baby you’re older than me
and entranced and my own
globe is wild enough to carry
it through thick and thin
in and out and oo baby
it’s time cause 25 is too old
to lay in bed with Smokey

singin.

<a href=”http://acousticlevitation.org/”>Steve Koenig</a>

—————————————————————————–

Gargles

gnat glancer bubbled in my throat a

crispy shadow in the file cabinet where

my tongue was greased  .a lunch

thumbprint ,plates of moonlight sm

eared across the wall I cracked in

to out O aim my fog at you at

me’s a dropper in the flat pants

I never wore out’s ide ,the comb gut

blister ,piles and miles my sandy

thumper caved into the rotting

log  )I spoke the spoke the water(

<a href=”www.johnmbennett.net”>John M Bennett</a>

—————————————————————————–

<em>(ED:  if you click on this one, you can listen to Jeremy while you read the text)</em>

<a href=”http://soundcloud.com/tapejerm/jeremy-gluck-and-dave-fuglewicz-unterzone-dave-fuglewicz-untimate-mix”>cur•tate (kûrtāt)
adjective
Having been shortened; abbreviated.

&gt;&lt;&gt;&lt;&gt;&lt;unterzone

Now that you are asleep and half attentive
I want to use your mind
In my experiment
I am getting slippery, very slippery
Now that I am half asleep
Let me take you
to unterzone
You are falling from the top of a long flight of stairs

My mother is standing at the top of a long flight of stairs
Fully asleep
Dead

Now that you are fully asleep
Let me take you
to unterzone

Now that I
am in my childhood bedroom
Alone
take you let me to unterzone

The source of intention

Welcome to unterzone – under – zone.

Don’t lose me to unterzone, the self-refrigeration.

This is unterzone.
Not the underworld – too glamorous.
unterzone, superficial, stamped with futility, the glue love cannot stick.
Two glues there are: love, and everything else.
Everything else upscaled isn’t much use because it’s too big to matter.
It seems to be important.

Am I important? Ask. Is he important? He says, is important. unterzone is an underpass:  long, low grey walls and dirt. I am unterzone, my own unterzone. What was once important is no longer. I am no longer important. Unwelcome, a footnote to myself.

Selling me myself? In Saneworld you are sick, severe and enduring. Lying to me in Saneworld, when I visit it, which I limit, it makes me sick. Of Saneworld.

I have given up my bed in Bedlam, ate my way through the chain and beat my way through the dogs into unterzone. I don’t believe in you; don’t believe in me.

Taking my confession..?
Half my life inauthentic to myself.
There’s worse ways to be beaten than with a belt.
As my father would have put it, “childish nonsense”.
I can make myself full of pain, cracking it at others like a whip.

Filed away or filed down, the core would remain toxic gold.
Love falling from the top of a long flight of stairs.
Are you falling from the top of a long flight of stairs?

I am repeating my steps at the top of a long flight of stairs.

Can you see me from the top of a long flight of stairs, across these space flights of stairs? Snowflake humans bumping down like meatware Slinky’s. Or spilling like milk, sticking to all it covers.

I receive, accept and am grateful for the gifts of the dead, their living guitars, unstilled voices, imposing spirits and nulled minds. Anybody can see that here I am.  A parasite upon genius.

All my anger is righteous
In desert, water
Living on nothing
I found all before

The nerves of the machine
Need to be cleaned
The last in the series
Animal spirits
In the bloodstream
Below the floor
Where the rats live
That’s where I belong</a>

<a href=”mailto:jeremy.gluck@ntlworld.com”>Jeremy Gluck</a>

Issue # 111, Zzaj-rant

I’m right in the thick of a bunch of “combat scenarios”… & no, I’m not a video-game nut… this is “real” play… ergo, you haven’t seen quite as much reviewing from me as you normally do.  That should change shortly, so spread the word to all your fellow musicians & your listeners… the place to “get it” when it comes to timely jazz opinion and reviews is right HERE!

As you may (or may not) have noticed, our pages kinda’ “disappeared” for a couple of days… that’s the hazard of not knowing how to backup a site with WORDPRESS… you can bet I know how to do that NOW… do NOT install new software on your WP site before making a backup… it’s quite painful & time-consuming to re-write the site unless you have such (yah, STUPID ol’ man… ha! ha!).

I’m only a couple of years away from “true” retirement now… maybe I’ll do some speaking tours, eh?  About iconoclastic players & reviewers & how they cope in today’s dumb (political) environment.  If you have any thoughts about places that might want such services, be sure to pass along th’ word to me at rotcod@rotcodzzaj.com

If you take a look at my REVIEW QUEUE page, you’ll see that the salt mine grind has caused me to fall a bit behind… quite a stack of CD’s on that page… I’ll be using this summer to get through all the marvelous music in there, so come back & visit us often, please!

Lastly, I want to point out the DONATIONS button on all of my pages & posts.  Some incentive for making a contribution to help me pay the site fees is available… $5 or more gets you a free digital CD, with artwork (of my choice) from the Zzaj Catalog.  $10 or more & YOU get to pick the one you want from the catalog – which you can peruse at http://rotcodzzaj.com/wordpress/?page_id=63 at your convenience.  ANY amount is welcome, though… every little bit helps, especially as I get ready to live on a more “fixed income” than ever!

That’s it for this time – as always, thanks for your support, folks!

Issue 111, Zzaj Interview with Leslie Pintchik

I’ve been reviewing Leslie’s music for many years now, nearly since she started playing, I think.  She is a most fascinating person, and I’ve wanted to do an interview with her for quite some time now… thankfully, she was able to take some time away from her busy schedule… thanks, Leslie!

 

 

 

 

Zzaj: One of my passions is for spoken word with music; though I haven’t heard such on the three CD’s of yours I reviewed, since you were in the education business for English literature, I’m assuming you’re also skilled with words.  Please give us a “spontaneous bio” sketch, so readers can know more about “where you came from” & “why you’re doing music”.

Leslie: I had somewhat of a late start in music because I originally hoped for a career in academics as a literature professor.  I taught literature (as a teaching assistant) at Columbia University, while I was working towards a Master of Philosophy degree in seventeenth-century English literature (also at Columbia).

As an undergraduate, I had begun to play the piano a bit, and I continued to play in graduate school.  But most of my time was spent reading and teaching.  Although I loved teaching, and also loved studying literature, over time I found myself being drawn more deeply into music.  (Two early inspirations were Monk and Miles.)  And I also began to feel that I couldn’t pursue both literature and music — at least at the same time — with any real commitment or depth (perhaps especially because I’ve never been a quick study).

So in the end, I took a sharp left and ended up becoming a jazz musician.  Not an easy path, but one that has given me much pleasure and joy.  When I started out, it never occurred to me that I might compose music; but I was eventually surprised to learn that two things that I particularly love about being a jazz musician are composing for my trio, as well as the process of bringing a composition to life with my bandmates.

That said, in the “whole note rests” between gigs and recordings, I’m still a pretty voracious reader.

Zzaj:  Tell us more about your time playing with bassist Red Mitchell (that’s something I wasn’t aware of until I read your BIO online).  How did you meet?  How did he convince you to play?

Leslie: Before I actually met and spoke with him, I had heard Red Mitchell play, and always loved his extraordinarily original and soulful bass playing.  When I met him, Red was living in Sweden, and every so often would come to New York to play for about a month at Bradley’s, a small but well known Manhattan jazz club that unfortunately no longer exists.  Bradley’s attracted great listeners and hipsters of all persuasions.  It seemed like it was Red’s “home away from home,” and it was an ideal place to experience Red’s beauty and sweetness in an intimate setting.

I was playing the weekly Sunday brunch at Bradley’s, which is how I met Red personally.  He asked me (and Scott Hardy, a guitarist with whom I had a duo) to join him for a series of Sunday evenings at Bradley’s, in order to play (and also sing!) some of his original compositions.

To answer the second part of your question, I suspect that not too many musicians would have needed to be “convinced” to play with Red.  He was such a generous person, both musically and personally.  I was a relatively inexperienced musician when I did get a chance to play with him; had he lived, I suspect that it would have been a joy for me to play with Red again, at a later date.

Zzaj:  What exactly is “warmth” in playing?  Tell us why that’s important (I certainly have my own ideas about why, but would like to hear it from your keyboard).  Are there particular examples of other players you know who have (or exude) that quality?

Leslie: For me, “warmth” in music suggests a sense of humanity, a kind of welcoming quality, perhaps akin to the importance of hospitality in ancient Greece: strangers were treated with kindness, and welcomed into one’s home.  Players with warmth encourage a listener to draw closer to their music, in the same way that one draws close to a blazing hearth in winter.  All great players seem to have some kind of warmth, so the list could go on and on.  But a few that come to mind immediately are Lester Young, Stan Getz, and the Brazilian singer Rosa Passos.

Zzaj:  I notice a quality that I term “bounciness” in your keyboard style (you may have a different name for it, I don’t know)… was that something “learned”, or did it come natural to you?

Leslie: Well Dick, I’m guessing that “bounciness” is a good quality to have (at least I hope so!), since you feel I have a “bouncy” style.  Could you be meaning something about my rhythmic conception, similar to having a “bounce” to one’s step? Perhaps bounciness could also refer to a buoyancy of conception and feeling.  In any case, if you mean any of those things, I’m glad to be on board!  And probably many of the intrinsic and idiosyncratic qualities in anyone’s musical voice (as both a player and composer) originate at a pretty subconscious level.

Zzaj:  I play, but only by ear… how important do you believe a more “formal” education in music is to being a successful musician?

Leslie: My feeling is that it partly depends on the music one wants to play.

Technically challenging music probably does require a strong technical foothold.     Ultimately, however, there’s no “one-size-fits-all” technique.  An artist need only know what he specifically needs to know, in order to express his singular voice, and to perform his own music.  Perhaps one of the underrated challenges for any artist is to figure out what one needs to know, and what might be left unexplored, at least in this lifetime!

That said, most artists (myself included, in a big way) feel there’s always so much more to know, to feel, to understand.

Zzaj:  How much time (besides the obvious recording time) did you have to put into your DVD release to make it such a success?  I was very impressed, and imagine you’ve gotten a lot of positive feedback.

Leslie: Thanks Dick, so glad you enjoyed the DVD.

The plan to make a video of a live performance of my quartet was entirely new territory for me, so I really had no idea what to expect.  Going in, I thought that playing the concert would be the toughest part, especially since everything we played would be a first — and only — take: whatever happens is it.  Moreover, one never knows in advance how responsive an audience will be.

Luckily, I think the music went well.  What probably helped tremendously in that regard was the longevity of the band; we’ve played together now for twelve years, so although we had to adjust to the room, its sound, etc., we all had a great musical comfort level with each other.  Plus, Scott, Mark and Satoshi are such gifted, resourceful musicians.  Finally, our recording engineer A. T. Michael MacDonald captured the sound beautifully.

There were, however, a fair (or should I say unfair?!!) number of glitches in the shooting of the video footage, so there was quite a bit of time spent in post-production.  Thanks to the efforts of the editor and others involved, we were able to address lighting problems, camera coverage, color correction and other issues, and ultimately were happy with the end result.

In answer to your question, yes, people have commented on the quality of the DVD, and it has received some positive press coverage as well.

Perhaps the biggest “compliment” we received for the DVD was when we found out that the Blu-ray version had been pirated in China, complete with Chinese subtitles during the speaking sections!  I was re-named Leslie “Ping Chuck,” which now that I think about it, is probably a better stage name than the unadulterated difficult-to-spell one I have now!

For those interested, you can view a track from the DVD on YouTube at this link: http://youtube.com/watch?v=VvRLhy4aMa0.

Zzaj:  It looks like you’ve been playing with the same players for quite some time… can you give us a little insight into them (or have them describe it themselves), please?

Leslie: Scott Hardy is the “house” bass player: I often joke on the bandstand that he was so good I had no choice but to marry him.  In addition to being a superb soloist, he’s also enormously shrewd and responsive in all his accompaniment choices.  A wonderful musician and partner and always a deep pleasure to share any bandstand with him.

Mark Dodge has been a member of my trio for almost 13 years now.  A savvy and very musical drummer, Mark is an integral part of the voice of this music, as well as a dear friend.

Our percussionist Satoshi Takeishi always manages to bring startlingly beautiful and provocative colors to the mix.  Both his grooves and colors add an extra depth and dimension to the music.  His use of the cajon and waterphone are standouts.  Both subtle and powerful, Satoshi brings magic to the bandstand.

Zzaj:  Do you prefer in-studio recording, or live performance?  Please give us your pros & cons for both scenes?

Leslie: In general, I might prefer live performance; a responsive live audience can provide great energy for musicians.  (Red Mitchell once came to listen to Scott Hardy and me play duo; he seemed to elevate the music just by his engaged presence, so much so that it really felt like he was the third member of our duo that evening.)  But of course, in a recording of a live performance, there are no do-overs, which, depending on how the day goes, can be fine, or definitely not so fine.

The great advantage of a studio recording is the opportunity for multiple takes; it’s more similar to composing in that way.  Sometimes several takes of the same piece allow the band to refine and deepen the feeling of a particular piece of music in a special way.

Zzaj:  Please give our readers a little “inside scoop” for what they can expect next in the way of musical projects from you or your groups?  “Advance” & “exclusive” free samples would be wonderful… ha! ha!

Leslie: We have some new arrangements and compositions in the pipeline, and I look forward to recording the new material (hopefully sooner than later) with my current bandmembers, and possibly some guest artists.  I wish I could be more specific, but most everything is still in more-or-less embryonic form: as of yet, just a twinkle in my ear.  Stay tuned!

Zzaj:  Do you still have (any) ties to your teaching background; as it relates to music, I mean… especially the literary side, but any other ties you may maintain?  If so, why is it important?  If not, why not?

Leslie: I still read a lot, and I sense that everything I’ve read inevitably informs the music I hear and play.  Likewise, the music I play and listen to also informs what I take from my reading, and in a deeper sense, how I experience the world.

For quite a while, I’ve wanted to do some writing about music, but haven’t yet found the time (or perhaps the discipline) to do it.  Maybe this is the year I will, and if so, I see it as just another aspect of my voice, as both a human and an artist.

Last year, David Adler, the president of the Jazz Journalists Association asked me to contribute a piece for the JJA website about how much, if any, musical literacy is necessary for a music critic or reviewer.  If you’re interested, you can view the piece here: http://news.jazzjournalists.org/2010/07/need-to-know/.