Ross Martin, Max Johnson, Jeff Davis, Big Eyed Rabbit

Something different? I mean very unexpected? That would be Ross Martin (guitar), Max Johnson (bass) and Jeff Davis (drums) and their Big Eyed Rabbit (NotTwo). It takes traditional fiddle tunes as a starting point and proceeds to transmute them in a free-avant-electric alchemy into a new kind of gold.

There are originals as well as traditional ditties. You must listen closely for the fiddle-tune sub-basement foundation to emerge, but it is there intermittently.

Turns out Ross Martin's inventive guitar thrust, Max Johnson's double bass creative ingenuity and the always hip drumming of Jeff Davis combine for a potent threesome. They work nicely together but at the same time make individual, continually original improvisatory contributions throughout.

Martin has technique and a free-jazzy in-the-pocket flair of his own. It goes well with Max Johnson's out-front all-over bass sanity-madness, here with more of a folksy feel than is ordinary. That works just fine. And Jeff is doing exactly what he does well, stretching time and giving the music motion in a melodic way.

Max and Ross are artists to listen to these days. Jeff, too. This is a great place to hear all three in an inspired mood.

Dave "Knife" Fabris Featuring Ran Blake, Lettuce Prey

Two years ago I took a look at Vilnius Noir, a very adventurous duet between pianist Ran Blake and guitarist Dave "Knife" Fabris (go to gapplegatemusicreview.blogspot.com May 11, 2012). Two years later we are back with an album by Dave with more Ran Blake interactions plus other very diversely situated music Dave put together. The new one is called Lettuce Prey (Great Winds 3169).

There is so much to appreciate on this one. Some more great duets with Maestro Blake plus things like a solo version of Hendrix's "Angel", a rock ensemble tearing through part of Prokofiev's "Scythian Suite", some nicely together songs with a couple of guest vocalists, and much more.

Dave is a guitarist of finesse, great ideas, fine music, compositional-arranging clout. He is not here to blow you away with chops, though there is plenty of technique. This one is all about the music.

It is an excellent outing in advanced jazz and rock zones. You must listen! There is no substitute. Very cool music.

Eric Hofbauer, American Grace, Solo Guitar

Guitarist Eric Hofbauer has done some interesting work in the past for sure but his American Grace (Creative Nation 022) solo acoustic set gets things really moving. There are very cool versions of classic music like the Beatles' "Dear Prudence," the standard "I Guess I'll Hang My Tears Out to Dry," and Louis Armstrong's "West End Blues" (complete with a version of the famous trumpet break from the first recording). Then there are original compositions-improvisations, too, well worth your ear-time.

What is striking, memorable, and sets this music apart is the originality and artistry of Eric the guitarist. There is some finger picking, some line weaving, chordal comps and a sound (must be an unamplified archtop semi-hollow) nicely percussive and punctuated.

It's a bit of a tour de force in plectorial artistry. You need to hear it. Eric Hofbauer has it all going on here.

Andy Fite, "A Different Temperament: The Well Tempered Clavier, Book 1" for Multiple Solo Guitars

An indie music distribution source of some note that carries this album stated in their usual "people who like x will like this" section that those who like Django Reinhardt, Bach and Warne Marsh will find this album to their liking. Well, I guess. This may be the only album I can think of where those three names don't seem like a stretch. Aside from talking about why Warne Marsh and not, say, Tristano, Konitz, or Connie Crothers (and I suppose that is a moot point in terms of rough net approximations), I must say that Andy Fite makes such combinations seem natural and also seem more like Andy Fite than a combination.

Here I am rattling on but it is usual to name here the title of the album and such, so: A Different Temperament: The Well Tempered Clavier, Book One (Other Street Music). It's Andy on one or more tracks (overdubbed) with his classic Epiphone guitar, in his uniquely interesting improvisational rethinking of Bach's "Well Tempered Clavier, Book One."

And what an different way to go about it! The contrapuntal lines are there or implied, but so are some really nifty guitar improvisations, some swing chord harmonizations, and any manner of other rather brilliant ways into, around and through Bach's wonderful music.

I think I should just say that it's a monument to Andy Fite and his musicianship. And it extends Bach in ways Bach would have dug, being a significant improviser himself. Do a Google search and you'll find places to order this one physically or digitally. But you probably shouldn't forget to do that if you are a guitar-type! Or even if you are not.

Andy Fite's "20 from '10" for his Swinging Guitar, Voice, and Singular Songs

Andy Fite is no ordinary musical fellow. And what is ordinary? Never mind that for now. He plays the acoustic (flat top?) guitar in the solid-four swing of Django's Hot Club or Al Casey of Fats Waller's must illustrious small group. He writes songs that somehow reflect David Frishberg, Fats and something just Andy.

His 20 From '10 (Other Street Music) gives you the 20 songs he penned last year. They are in a sort of tongue-in-cheek cabaret style and they address in a funny-sad way the little as well the big events in a relationship, his own Woody Allenesque insecurities, and life-political-cultural frustrations. It's unique and it's lots of fun. Is it for everybody? What is? You have to be comfortable with the ironic cabaret style, I would think.

He is one in a million, a songwriter of originality, a vocalist who performs his songs. . . like he wrote them (because, duh, he DID), and a guitarist who functions mostly in an accompanying role here, but does so with a good handle on what he wants to do.

Nathaniel Smith Quartet Debuts with Jon Irabagon

Nathaniel Smith, MUSICAL drummer. That's what I know from his recent debut as a leader of a fine quartet on a CD simply titled Nathaniel Smith Quartet (Fresh Sound New Talent 371). He is also thoroughly schooled in the modern jazz drumming tradition. He swings lightly but accentually; he shows a good feel for brushwork; he gets around his set to provide a lot of good sounds. His skills as a tunesmith are also first rate. Five of the seven pieces on the album are his. They provide distinctive feels, good lines, and very conducive frameworks for the improvisations they set up.

Nathaniel also shows himself a bandleader who can handpick a few choice colleagues to develop a group chemistry that goes well beyond the considerable individual skills involved. Jostein Gulbrandsen is a fine guitarist. His subtle comping and incisive solo style gives the band a personality that it would not have without him. He also writes two numbers for the set, both of interest. Bassist Mark Anderson is another good choice. He underscores the rhythmic-harmonic structures of the pieces with good sense, fine tone and rock solid swingtime. Then there is Jon Irabagon and his tenor. He most certainly is one of the important new voices on his instrument, as a member of Mostly Other People Do the Killing and as a leader in his own right on a number of impressive albums. He can be incredibly exhuberant and boisterous, but on this quartet date he harnesses the dynamo for a group give and take. It's another side of Jon you hear on this one, just a shade cooler but quite lucid, never at a loss for ideas.

So there you have it. The sum of all these parts is a very thoughtfully swinging modern session. Gulbrandsen's guitar solos stand out as exceptionally interesting and we get to see another side of Jon Irabagon. This is serious jazz from start to finish. No frills, no bull. It's one of the best of the loosely straightforward improvisational sessions I've heard so far this year.

Congrats to Nathaniel Smith and his bandmates on this one!

Guitarist Chris Crocco and Fluid Trio+

Chris Crocco manages to put forward a formidable contemporary post-bop guitar approach that does not sound like anyone else's in any obvious way. That so many have been influenced is common; that someone potentially could be an influence is most definitely not. His tone is pure more than mellow, as it dispenses with the heavy neck-pickup saturation favored traditionally by many mainstreamers, and his line work is well conceived and flowing.

Crocco's Fluid Trio made an album several years ago that I am sorry to have missed. It had the initial trio lineup of Boston tenor titan George Garzone and Francisco Mela on the drums, the latter a Cuban expatriate who has been deservedly getting some attention out there and currently is a member of McCoy Tyner's outfit. The "plus" in the new edition of the Fluid gathering is bassist Peter Slavov, who adeptly brings the time and bottom anchorage to the band's excursions so that they can swing harder and imply more direct harmonic movement, and they take advantage.

So there you have some of foundation knowledge on Chris's latest release, simply titled The Chris Crocco Fluid Trio+ (CPA Records). It's an all-Crocco-originals date, ten of them to be precise, and that turns out to be a very good thing because he writes some engaging and varied vehicles for the band. Everyone gets solo time and it is time well spent; there's a very good mix of feels and swinging grooves. It is Chris Crocco himself that is pivotal to this date however. The group chemistry is palpably present at all points, but Mr. Crocco's sophisticated, sharply biting yet fully linear guitarwork captures and captivates thoughout most of all.

A fine effort . I hope there will be many more from them in the years ahead.

McCoy Tyner and Various Guitarists Shine Forth

McCoy Tyner has had a great influence in the music world since he entered it in the late ‘50s. Of all the pianists of his generation, he belongs to the select few monster stylists out there. Most people reading this will know that.

He hasn’t played much with guitarists, for whatever reason. Until now. His aptly titled CD Guitars (Half Note) finds him in company with five different stringmen, plus a formidable rhythm section of Ron Carter and Jack DeJohnette. Much of the material is familiar, but that’s not the point. What happens with each segment belongs to the good chemistry law: if two musicians listen carefully and respect each other’s way of going about his business, nice things can happen. And that’s the case with these sessions.

Marc Ribot gets four numbers and he is alternatingly out and in the groove with playing that has distinct rock overtones at times. John Scofeld and Bill Frisell each show why they are at the top. Then there’s Bela Fleck on banjo, a wizard that comes off quite well in his sequence. He’s amazing! Finally jamband hero Derek Trucks gets his turn, and if you already know about him, you’ll find him into his thing and acquitting himself admirably. If you are new to him, it gives you a chance to evaluate where he is coming from and how that mixes with Mr. Tyner’s way of dealing. McCoy took a chance playing with four such disparate players. It was worth it.

Originally posted by Grego on March 6th of last year at www.gapplegate.com.

The Stryker/Slagle Band Crafts a "Keeper"

Guitarist Dave Stryker, alto-soprano adept Steve Slagle...they are all about keeping at it. Tomorrow marks the release of their fifth album, Keeper (Panorama) and it has that fully blossomed sound inside the pocket and upside your head. Here are two players that work together in a most simpatico way. The crack rhythm section of Jay Anderson, bass, and Victor Lewis on the drums gives the band an excellent push that brings out the best in the two frontliners.

Keeper underscores that the contemporary mainstream of jazz, when done by the right people, has vivid life and that exceptional ability to attract lots of listeners. But of course not just any band does that. The Styker/Slagle band does though, for sure.

There's a deep sense of convinction in the performances on this album. Dave Stryker is flawless, exciting, immediately somehow familiar in his thoroughgoing boppish swinging without sounding like anyone's clone. And the same applies to Steve Slagle. Jay Anderson is a model for this sort of session and gets off some nice solo work too. And Victor Lewis is a drummer who has been at the heart of the scene for so many years for a reason. He makes great time seem effortless, which of course it ultimately is not at all. This is a band that comprises four fully developed artists united in the group effort.

Nine nicely turned originals by Stryker or Slagle are set off by one of Monk's most precious compositional jewels, "Ruby My Dear."

Keep in mind I have nothing to gain by liking this or any other album. As an independent, I like what I please. So when I say I like this recording very much I am not taking it to the bank but you can! Those who dig the contemporary jazz guitar will find Dave doing great work here. And regardless this is a band at the top of their powers.

Fred Fried and His Nylon Eight-Stringed Guitar

Fred Fried. He's a guitarist of subtle finesse, beautiful voicings, attractive compositions and a very together trio (Fred Fried and Core). What I take is their third album, Core 3.0 (Ballet Tree), is a genuine winner.

Mr. Fried goes for the lush sound, a sometimes rhythmic post-bossa way of chording and an emphasis on the music that thrives in the moment yet has plenty of structure. He's not somebody who creates rapid fire 32nd note runs. Instead he makes the most of the possibilities of the eight-string to give out with a very full sound.

The trio includes solid contributions from Michael Lavoie on bass (with some interesting solo spots) and Miki Matsuki, drums, a cooker of quiet intensity. Fred Fried is the main voice however and that's just great, given what he plays on these numbers.

From start to finish Core 3.0 gets into a lovely zone and stays there. This will appeal to enthusiasts of the jazz guitar and since it is is so well done, just about anyone else who seeks the meaty musicality with the mellow.

This is the finest album I've heard by Fred. Get it and you'll wish you played like him. I did.

Simone Guiducci on Acoustic Guitar

Originally posted on April 9, 2008

Acoustic guitarist Simone Guiducci has a number of CDs to his credit. The one I’ve been listening to is from 2001—Django’s Jungle (Splasc[h]). This is his tribute to the great gypsy jazz guitarist Django Reinhardt and it shows off Simone’s subtle skills well.

The band at full strength is a 7tet on this disk, and they hold their own. Not every tune is a gem and sometimes the music borders on European café music (but then again you could say the same for Django’s repertoire at certain points). However this is a very pleasant listen and Simone is no slouch on his instrument.

Dennis Sandole, Legendary Jazz Guitarist, Composer, Educator

Originally posted on December 13, 2007

Dennis Sandole was a Philadelphia-based guitarist and jazz composer who died in 2000. He is perhaps best known as the man who taught the legendary John Coltrane. He was little recorded and suffered undeserved neglect during his lifetime. Aside from one other that came out on Fantasy in the ‘50s I believe the CD we’re looking at today was/is the only recording around. It is called Dennis Sandole Project and it’s available on Cadence Jazz Records CJR 1102 (www.cadencejazzrecords.com).

What is especially nice about this recording is the three segment division showing different aspects of Sandole’s music. The first is a rare, slightly scratchy record transcribed to digital. It’s a quartet from 1958 with piano, bass, drums and Sandole on electric guitar. He really had an advanced harmonic and melodic sense which immediately comes out on these small group sides. And he cannot be pinned down; he sounds like himself and that’s it. The second part of this CD has Michael Grossman on piano and also with a quartet playing Sandole compositions. Nice and also rather unusual phrasing! The same can be said of the third part, a jazz ballet opera called “Even’in is Cryin." It's all quite interesting. Get this one while you can and be amazed at what he plays on guitar and how he thinks musically!