John L Homes, Guitarist, The Holmes Stretch

Washington State native John L Holmes and his seven-piece band take front stage for the CD The Holmes Stretch (I'm not sure of the label on this one).

The band runs through 12 of Mr. Holmes originals and they have some definite charm. This is mostly Latin-funk-jazz arranged well for the mid-sized ensemble, with Mr. Holmes one of the main soloists. His guitar playing is bluesy, pentatonic and generally attractive, and he gets an ensemble sound from the band that has some distinction.

The Latin grooves are mostly pretty hep. I found myself being drawn into the music at times. There are stretches though when I thought a little more fire and perhaps more up-tempo renditions of some of this material would do wonders. Sometimes there's not quite enough of a spark coming out of the speakers. Perhaps John was aiming at a radio market that prefers things smooth. This really isn't smooth jazz deep down and the entire disk would benefit from some more push in the rhythm.

But that's my take.

Eugene Marlow's Heritage Ensemble and Their New CD "Celebrations"

This is the season when festive light and musical celebrations come together for a few weeks, regardless of one's religious affiliations. I admit I am just a little late on this one (though good music is timeless). There's a nice CD by Eugene Marlow's Heritage Ensemble that will help bring some light into the early winter. Celebrations (MeII) takes four traditional melodies from the Chanukah festival, two from Purim, and one original, and puts together a program of some very cool modern Latin and contemporary jazz.

Eugene Marlow did the arrangements and plays a nice funky set of keys. The irrepressible master of the pocket, Bobby Sanabria is on drums, virtually guaranteeing that things will be hip. Michael Hashim puts in a good effort on the reeds and the engine room is completed by a limber Frank Wagner on bass and Cristian Rivera stoking the flames on Latin percussion.

Now with these sorts of musical adaptations, the music either works or it doesn't. It works, thanks to the very good chemistry of the band and Mr. Marlow's excellent arranging instincts and talents, not to mention his very lively presence at the keys. Michael and Bobby make the music breathe too--but then the whole band is on the mark here.

This is excellent music! And it fits the season. It fits any season.

Bassist Harvie S and His "Cocolamus Bridge" Recording

Today marks posting number 401. That means that between this and my two other sites, plus Cadence, I've reviewed well over 1000 CDs in the last couple of years. Am I tired? It's Monday morning; otherwise, not tired.

Acoustic bassist Harvie S has been doing a marathon of his own. He can claim more than 350 CDs that he has been a part of, as bassist, as co-leader, as leader. Of course there's always a reason for such things. He can play! And he can play with all kinds of people, whether it be Kenny Barron, James Brown, or Jane Ira Bloom.

And when he gets a chance to play his own music, it means that that much more of his playing prowess is out front, as are his writing and leadership abilities. Cocolamus Bridge (Blue Bamboo 014), his latest, gives you all of that. The sextet assembled for this date has range and some drive. Guitarist Chris Cortez plays jazz guitar with a capital /J/. He's the sort that can give out with some nice lines seemingly whenever called upon to do so. Tenor-soprano Woody Witt is another one that plays the current mainstream style with flair. Jose Miguel Yamal gives you some impeccable Latin piano. Joel Fulgham and James Metcalfe, drums and percussion, particularly get popping on the Latin numbers as well. There's a decent assortment of Latin originals, some fine showcases for Harvie's bass soloing (most notably on the opening traditional folk song "Eili Gheal Chiuin"), and an interesting bass and soprano version of Wayne Shorter's "Night Dreamer."

This is an album acoustic bass aficionados will enjoy for the nuances of Harvie S's versatile approach. Those who dig Latin jazz of a cooking sort yet with a somewhat cool edge at times will also get with this one.

Hector Martignon's "Second Chance": For Some Smart Latin Jazz

Hector Martignon plays some really fine Latin jazz piano, writes very interesting music and arranges it and some choice covers skillfully for a mid-sized group on his new album Second Chance (Zoho 201006).

Martignon's pianism is quite in evidence on this disk. He has both rhythmic drive and harmonic-melodic sophistication. His band here is excellent. Ludwig Afonso stands out as a drummer steeped in the Latin and the jazz side of the equation. Reedman Xavier Perez and trumpet-fluegelist John Walsh add nice solo work. Bassists Armando Gola and Edward Perez both have that post-Jaco line-weaving strength (though there is also some steaming upright on "Alone Together;" I'm not sure who is playing when) that spices the proceedings considerably. And then the guest spot by Edmar Castaneda on harp (for "Coqueteos") can only be classified as brilliant! Traditional South American (Colombian) harp combines in his solo with a jazz context and it's quite impressive. I would love to hear more of him.

But this is Hector Martignon's outing and he shines brightly, while showing us the flexibility of his musical leanings. There is samba and other Latin feels mixed with nicely turned fusion elements and well constructed compositional lines. Listen to their version of Mancini's "Hatari" and Hector's piano solo on it to find a congenial first entrance into this fine set. Mr. Martignon gives us some very good music on Second Chance. It is music to live with, happily.